ADVANCED  ELOCUTIOIN' 


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Advanced  Elocution 


DESIGNED  AS  A  PRACTICAL  TREATISE 
FOR  TEACHERS  AND  STUDENTS  IN 


Vocal  Training 
Articulation,  Physical  Culture  i^^  Gesture 

BY 

Mrs.  J.  W.  Shoemaker 

Principal  of  The  National  School  of  Elocution  and  Oratory 
AIDED  BY 

George  b.  Hynson  ^i^  John  h.  bechtel 


"Art  does  not  pervert,  but  refines  and  exalts  Nature,  and  it  is  only  by  a  combination 
of  the  two  that  we  can  produce  perfection  in  anything  that  is  the  workmanship  of  man." 

MUKDOCK. 


Philadelphia 

The  Penn  Publishing  Company 

1898 


CONTENTS 


PAOB 

Expression 13 

Media  of  Expression 15 

VOCAL  EXPRESSION 

The  Voice 16 

Purity 18 

Flexibility 19 

Power 19 

Definitions       20 

General  Observations 21 

Vocal  Gymnastics 22 

Vocal  Chart 23 

Vocal  Practice 28 

Directions 29 

Breathing *   .  .   .  30 

The  Nose     32 

Exercises 32 

Special  Exercises .  34 

Inflection 35 

Shows  Contrast 39 

Tells  the  Facts 39 

Length  of  Slide  Shows  Importance  of  the  Fact  ....  39 

Straight  Slides 40 

Inflections  in  Emotional  Selections 41 

Sharp  Angles  and  Continuous  Wave  Movements  in  the 

Slide 43 

Long  Rising  Slide  and  Long  Falling  Slide 44 

Examples 47 

Quality 48 

Pure  Voice 50 

Normal     50 

Orotund •  .   .   .   .  53 

Pectoral 56 

Tremolo • 58 

vii 


Vlll  CONTENTS 

PAGE 

Impure  Voice 59 

Aspirate 59 

Guttural 60 

Nasal     .  .  .   ;  .  .'.  .  . 62 

Falsetto 64 

Oral 64 

Time 65 

Examples 66 

Pitch 70 

Examples 71 

Force,  Volume,  Intensity 74 

Examples 76 

Rhythm 78 

Time      80 

Accent 82 

Movement 83 

Tone  Color 83 

Enunciation 84 

Impersonation 87 

Examples 88 

Stress 91 

Cadence 91 

Remarks ?)2 

VERBAL  EXPRESSION 

Introductory 93 

Elementary  Sounds    96 

The  Alphabet 96 

Marks  of  Notation 96 

Digraphs 97 

Signs  and  Sounds 97 

Elementary 98 

Standard  and  Clipped  Sounds 98 

Cognates 99 

Long  and  Short  Sounds 99 

Discussion  of  Elementary  Sounds 99 

Vowel  Sounds 99 

Consonant  Sounds 108 


CONTENTS  IX 

PAGE 

Table  of  Equivalents 118 

Vowel  Equivalents 118 

Consonant  Equivalents 119 

Table  op  the  Several  Sounds  Eepresented  by  the"  Same 

Symbol 121 

Vowel  Symbols  .   . :  121 

Consonant  Symbols 122 

Unusual  Sounds 123 

Consonant  Combinations 127 

Initial  Combinations 128 

Terminal  Combinations 129 

Syllabication 136 

Accent 138 

Discriminative  Accent 140 

Antithetical  Accent 141 

Influence  of  Accent  on  Vowel  Sounds 141 

Unaccented  Terminal  Syllables 147 

Phonetic  Analysis 156 

Exercises  and  Rules 157 

General  Exercises 168 


VISIBLE  EXPRESSION 

Gesture 171 

Gymnastics 172 

The  Dress 173 

The  Practice 174 

Educational  Gymnastics 175 

Nomenclature 17(> 

Positions      177 

Carriage  of  the  Body  . 178 

Walking 181 

Sitting 184 

Rising 184 

Courtesying ', 184 

Kneeling      184 

Bowing 185 

Free  Work 185 


Copyright  1896  by  The  Penn  Publishing  Company 


8    f  ~» 


PREFACE 


In  these  latter  days  much  interest  has  been  manifested 
in  the  subject  of  Elocution.  To  know  what  is  the  natural 
as  well  as  the  artistic  way  of  expressing  one's  self,  either 
by  the  voice  or  in  gesture,  is  rapidly  becoming  a  demand 
of  the  American  people.  This  interest  is  seen  and  felt  in 
colleges,  in  schools,  and  even  in  society.  It  is  greater 
than  any  which  has  pertained  to  delivery  since  the 
days  of  Grecian  and  Roman  oratory  and  acting.  Truly 
it  may  be  said  that  this  is  the  Renaissance  period  in  the 
history  of  Elocution,  and  the  outlook  is  hopeful  and  en- 
couraging. It  is  evident  also  that  teachers,  however  their 
methods  may  differ,  are  to-day  centralizing  about  this  ob- 
jective point — the  enlargement  and  elevation  of  human 
personality  through  the  proper  cultivation  of  the  power  of 
expression. 

This  book  is  not  intended  to  introduce  any  new  system, 
but  simply  to  present  in  a  more  modern  form,  thoughts 
that  are  believed  to  be  in  touch  with  all  that  has  proved 
to  be  of  value  in  things  both  new  and  old. 

In  some  degree  it  is  a  synthetization  of  the  inheritance  of 
the  past  and  of  the  wealth  of  thought  of  the  present,  the 
latter  crystallized  from  such  writers  and  philosophers  as 
Austin,  Rush,  Darwin,  Delsarte,  Engel,  Brown,  and  others. 
Upon  such  a  foundation,  aided  by  an  experience  obtained 
in  schoolroom  and  platform  work,  as  well  as  in  the  every- 
day walks  of  life,  has  been  framed  a  system  or  method 
which  has  proved  to  be  helpful  to  the  many  pupils  who 
have  been  under  our  special  training.     It  is  believed  that 

M594968 


4  PREFACE 

this  advanced  method  will  prove  no  less  valuable  to  all 
who  may  be  inclined  to  study  these  pages.  At  least  it  will 
be  as  valuable  to  a  student  as  any  work  on  a  similar  topic 
is,  in  the  absence  of  the  living  instructor. 

Elocution  is  the  art  of  speaking  naturally  and  artistically. 
Training  supplies  to  others  that  which  the  horn  orator  pos- 
sesses under  all  circumstances,  but  which  few  persons  ever 
indicate  the  possession  of,  until  they  have  been  taught 
what  their  resources  are  and  have  acquired  skill  to  use 
these  in  their  own  delivery.  It  is  true  that  in  the  matter 
of  public  speaking  or  delivery,  as  in  all  other  pursuits, 
some  will  excel,  but  culture  in  this,  as  in  all  branches*  of 
education,  is  helpful  to  every  one,  and  there  is  no  person, 
unless  he  is  physically  disabled,  who  cannot  be  trained 
away  from  indistinct  or  defective  enunciation,  faulty  tones, 
or  ungainly,  meaningless  movements  and  attitudes.  Any 
one  who  will  make  the  effort  may  come  to  possess  a 
pleasantly  modulated  and  resonant  voice,  a  distinct  artic- 
ulation, and  ease  and  grace  of  bearing,  which  if  utilized 
only  in  the  quieter  walks  of  life,  are  in  themselves  an  ac- 
complishment greatly  to  be  desired. 

In  regard  to  the  selections  contained  in  this  volume,  it 
has  been  the  aim  to  choose  such  as  are  classic  or  standard, 
and  at  the  same  time  interesting.  They  are  divided  into 
didactic,  dramatic,  oratorio,  epic,  lyric,  grave  and  gay,  and 
are  suitable  for  reading,  recital,  declamation,  and  colloquy. 

Grateful  acknowledgments  are  due  to  authors  and  pub- 
lishers for  their  courteous  permission  to  use  many  of  the 
selections.  Acknowledgment  is  also  made  for  the  valuable 
assistance  furnished  by  Professors  John  H.  Bechtel  and 
George  B.  Hynson.  The  former,  from  his  careful  study 
and  his  experience  in  teaching  Orthoepy,  has  most  accept- 
ably prepared  the  department  of  Articulation;  and  the 
latter  has  no  less  ably  prepared  the  department  of  Voice 
Culture, 


PREFACE  O 

Believing  the  book  will  receive  the  recognition  it  merits, 
be  that  little  oi  great,  the  author  sends  it  forth  with  the 
humble  request  that  a  thorough  inspection  or  a  fair  trial 
be  given  it  before  a  judgment  is  pronounced. 

Mrs.  J.  W.  Shoemaker. 
Philadelphia,  October  1st,  1895. 


ADTANCED   ELOCUTION 


EXPRESSION 

*'  Self-culture  means  perfect  symmetrical  development  of  all  our  powers  of 
body,  mind,  and  soul."— Goethe. 

Man  is  an  embodied  mystery.  Fashioned  of  earth, 
endowed  with  great  possibilities,  made  in  the  image  of  his 
Divine  Artificer — he  is  an  enigma  to  himself 

Concerning  him,  scientists  and  theologians  have  thought 
and  written  and  taught,  and  while  intrinsic  knowledge  has 
been  attained  thereby,  yet  the  fact  remains  that  it  is  not 
known  where  or  how  one  part  of  man's  nature  ends  and 
another  part  begins.  It  is,  however,  an  almost  universal 
belief  that  man  possesses  a  three-sided  nature,  and  that  one 
side  or  another  predominates  according  as  that  individual 
side  is  cultivated  ;  or  the  three  sides  may  be  equally  cul- 
tivated, resulting  then  in  the  highest  type  of  the  human 
race.  Applying  this  idea  of  the  Trinity  of  man  to  the 
teaching  of  Expression,  man,  according  to  Delsarte,  pre- 
sents himself  in  three  phases,  namely :  "  Sensitive,  intel- 
lectual, and  moral — life,  the  sensitive  or  physical  phase ; 
mind,  the  mental  phase;  and  soul,  the  moral  or  spiritual 
phase ;  and  in  our  finite  condition  no  one  of  these  exists 
separate  from  the  other.  They  interpenetrate,  interlace, 
correspond  with  and  embrace  each  other,"  hence  they  act 
and  react  each  upon  the  other,  constituting  as  a  whole  the 
Ego,  the  Personality.  This  Personality  makes  known  to 
the  outward  world  the  facts  or  impressions  received  there- 
from, as  well  as  the  impressions   which   come  through 

13 


14  ADVANCED    ELOCUTION 

inward  light  and  experience,  by  means  of  the  physical 
organism,  and  this  manifestation  is  termed  Expression. 
In  other  words,  man  receives  impression,  which  he  may 
utilize  for  the  benefit  or  bane  of  others,  through  expression, 
and  this  in  turn  may  act  upon  another  as  impression,  and 
so  on.  How  important  then  becomes  this  axiomatic 
statement,  "  Exalt  the  rank  of  the  personality — that  is, 
enrich  the  mind  with  knowledge,  and  the  heart  with  all 
that  is  beautiful  and  good,  and  train  the  body  in  all  its 
parts  to  manifest  the  capabilities  of  the  other  two." 

In  accord  with  the  Three  States  of  the  Being,  Delsarte 
formulated  the  following  in  regard  to  the  Laws  of  Motion 
as  applied  to  Expression  :  "  Man,  by  his  finite  conditions, 
is  restricted  in  his  movements,  and  no  matter  what  these 
conditions  are,  whatever  he  manifests,  must  be  manifested 
by  one  only  of  the  following  modes  of  motion,  or  by  a 
blending  of  two,  or  of  all  of  them,  namely  :  Eccentric,  Con- 
centric, and  Normal,  or  Poise.  Eccentric,  from  a  centre 
outward ;  Concentric,  toward  a  centre,  or  inward ;  and 
Normal,  or  Poise,  centered  or  balanced.*  The  Vital  States 
or  phases  of  the  Being  manifest  themselves  through  Eccen- 
tric modes  of  motion,  the  Mental  States  or  phases  through 
Concentric  modes  of  motion,  and  the  Moral  through 
Normal,  or  Poise."  This  thought  must  not  be  lost  sight 
of,  however,  that  when  there  is  a  preponderance  of  mani- 
festation of  one  side  of  the  Being  the  others  are  there  to 
sustain  an  equilibrium. 

Note. — A  very  valuable  exercise  is  to  have  the  pupil  present,  at 
this  point  of  his  progress,  original  or  quoted  examples,  illustrative 
of  the  above-named  laws. 

*  "  We  believe  Delsarte  to  have  been  the  first  to  apply  the  three  modes  of  mo- 
tion to  the  Three  States  of  the  Being.  This  is  his  great  discovery,  and  is  at  the 
centre  of  the  Delsarte  System.  Yet  we  fancy  that  a  philosophic  mind  reading 
Sir  Isaac  Newton's  'Three  Mechanical  Axioms,'  will  be  strongly  impressed 
Avith  the  idea  that  the  great  French  teacher  found  the  data  for  his  Laws  of 
Motion,  as  applied  to  Expression,  in  the  masterly  formulae  of  the  great  English 
thinker."— "  Philosophy  of  Expreesimi,"  by  Moses  True  Brown. 


MEDIA   OF   EXPRESSION  15 

It  has  long  since  been  demonstrated  that  in  order  to 
become  a  finished  speaker  or  reader  something  more  is 
needed  than  merely  to  be  born,  yet  there  are  those  to-day 
who  believe  that  if  a  proper  conception  of  the  thought  or 
feeling  be  obtained,  true  artistic  elocution  is  certain  to 
follow.  On  the  contrary,  it  is  necessary  to  assist  Nature 
by  careful  cultivation  in  all  that  pertains  to  Expression  if 
the  latter  is  to  be  idealized  into  its  highest  forms  of  beauty, 
grace,  and  power.  Mind  and  spirit  communicate  them- 
selves rapidly  and  often  passionately  to  the  outer  world 
through  the  body  medium,  in  ways  which  may  be  natural, 
but  which  are  by  no  means  perfect  or  graceful  expressions 
of  Nature ;  "  for  Nature  may  readily  run  into  deformity, 
and  it  must  be  the  purpose  of  Art  to  remove  and  conceal 
all  deformities,  for  Art  is  called  in  not  to  pervert,  but  to 
refine  and  exalt  Nature." 


MEDIA  OF  EXPRESSION 

"A  certain  mechanical  preparation  must  precede  every  art." — Goethb. 

The  media  of  Expression,  through  the  physical  nature, 
are  vocal,  verbal,  and  visible  or  pantomimic. 

Vocal  includes  all  that  pertains  to  voice ;  verbal,  to  the 
use  of  words  ;  and  visible,  to  that  which  relates  to  attitudes, 
bearings,  motions  of  the  human  form,  together  with  ex- 
pressions of  the  countenance. 

Finished,  artistic,  and  effective  media  of  Expression  are 
attained  first,  by  means  of  vocal  and  verbal  exercises 
and  educational  and  sesthetical  gymnastics ;  and,  secondly, 
by  the  study  of  the  principles  or  laws  of  expression  and 
their  application  through  practice. 

When  the  avenues  of  expression  have  been  trained, 
the  processes  by  which  this  training  has  been  reached  may 
be  lost  sight  of;  for  this  "  strength  at  the  centre,"  as  it 


16  ADVANCED    ELOCUTION 

were,  *'  gives  freedom  to  the  surface,"  and  so,  without  loss 
either  of  spontaneity  or  individuality,  the  speaker  or 
reader  can  safely  trust  the  conveyance  of  his  thoughts 
and  emotions  to  his  cultured  media. 


VOCAL  EXPRESSION 

"The  Cultivated  Voice  is  like  an  orchestra.  It  ranges  high,  intermediate,  or 
low,  unconsciously  to  him  who  uses  it,  and  men  listen  quite  unaware  that  they 
have  been  bewitched  out  of  their  weariness  by  the  charms  of  a  voice  not  artifi- 
cial, but  made,  by  assiduous  training,  to  be  his  second  nature."— Bekcher. 

The  voice  is  the  chief  medium  of  human  expression. 
Its  use  is  general  and  constant.  It  is  the  great  avenue 
through  which  the  impressions  of  all  animal  life  are  con- 
veyed. As  these  impressions  are  more  varied  and  exalted 
in  man,  he  has  developed,  enlarged,  and  refined  this 
medium,  so  that  through  it  he  may  express  a  variety  of 
sentiment  which  is  almost  without  limit.  To  many,  voice 
is  almost  the  exclusive  agent  of  Expression,  and  it  is  the 
main  instrument  of  all. 

Literature  itself  reaches  its  highest  conception  when 
translated  into  living  speech.  The  great  poems  and  dramas 
are  interpreted  by  the  voice  of  the  reader  at  the  fireside, 
on  the  public  platform,  or  in  the  crowded  theatre.  These 
productions  live  because  their  words  have  trembled  on 
many  tongues  and  because  the  voice  of  man  has  brought 
them  anew  into  human  relationship  and  sympathy. 

Even  our  silent  reading  owes  much  of  its  interest  and 
power  to  vocal  expression.  We  translate  the  formal  sym- 
bols of  the  page  into  the  varied  forms  of  the  living  voice. 
Tones  are  imagined,  inflections  are  conceived,  and  the 
w^hole  is  clothed  with  the  garment  of  animated  speech. 
The  reason  for  this  is  obvious.     The  normal  and  ordinary 


VOCAL   EXPRESSION  17 

method  of  expression  is  vocalization,  and  these  printed 
symbols  are  merely  suggestive;  the  imagination  easily 
supplies  the  remaining  elements. 

Possibly  we  may  think  without  words,  but  thought  is 
always  clothed  in  some  kind  of  symbols,  and  thus  is  pre- 
sented in  tangible  shape,  so  that  the  mind  may  cognize  it. 
Therefore  we  think  in  tones.  A  thought  may  be  conceived 
and  instantly  a  word  is  uttered  to  represent  it.  But  the 
utterance  of  that  word  may  convey  an  impression  at  vari- 
ance Avith  its  ordinary  signification.  Not  only  has  the 
word  been  conceived,  but  the  tone  also.  He  who  reads 
the  words  of  Cassius,  "And  this  man  is  now  become  a 
god,"  and  fails  to  mentally  interpret  the  tones,  also  fails 
to  comprehend  the  meaning  of  the  lines. 

By  means  of  the  voice  man  runs  the  whole  gamut  of 
the  soul's  varying  phases.  It  informs,  it  interprets,  it 
persuades,  and  denounces.  It  bears  us  aloft  on  the  wings 
of  its  melody ;  it  pleases  and  thrills.  No  agency  and  no 
art  can  impress  what  lies  beyond  the  realm  of  the  well- 
attuned  voice. 

It  is  the  least  cultivated  of  all  the  expressive  agents. 
By  this  indifference  we  seem  to  say  that  while  every  other 
power,  mental  and  physical,  reaches  its  highest  possibili- 
ties through  systematic  and  intelligent  cultivation,  the 
voice  is  the  one  exception,  and  that  its  use  comes  by 
Nature.  The  intellect  comes  b}^  Nature,  so  do  the  imagi- 
nation and  the  emotions.  Their  proper  and  fuller  exer- 
cise comes  through  cultivation. 

We  are  students  of  Expression  throughout  life.  The 
acquisition  of  knowledge  gives  rise  to  the  desire  to  express 
it.  Now  somewhere  in  the  mind  are  stored  up  all  the 
words,  tones,  and  other  symbols  which  we  employ  in 
expression.  Before  they  can  be  uttered  the  power  of 
selection  must  be  exercised;  that  is,  words  and  tones 
must  be  conceived  before  they  can  be  given.  The 
2 


18  ADVANCED    ELOCUTION 

materials  may  be  poor  ;  they  may  be  limited,  and  the 
selection  may  not  be  judicious.  These  are  the  very 
reasons  for  the  study  of  the  voice  for  speech. 

Some  voices  are  musical,  but  lack  variety.  Some  hav- 
ing variety  are  devoid  of  power.  Many  violate  physical 
law  and  offend  the  ear.  Some  run  in  a  groove  from  which 
they  never  deviate.  Many  are  marred  by  excessive  inflec- 
tion ;  others  have  almost  none. 

It  is  to  correct  these  faults,  to  develop  the  good  qualities, 
to  acquire  greater  power,  and  to  do  the  work  with  a  mini- 
mum effort  that  the  student  of  voice  should  apply  him- 
self. 

PURITY 

A  pure  voice  is  one  of  any  given  power  which  is  made 
without  friction.  It  must  be  produced  with  the  least 
physical  effort.  Voice  is  the  result  of  muscular  energy, 
as  much  so  as  the  movement  of  the  arm.  But  this  energy 
should  not  exceed  the  minimum  required,  neither  should 
it  be  manifest  in  those  parts  that  perform  their  functions 
best  when  in  a  state  of  comparative  repose.  A  voice  may 
often  be  prejudged  by  the  contortions  of  the  face. 

A  pure  voice  should  not  be  more  fatiguing  than  any 
other  simple  exercise ;  indeed,  it  is  only  a  phase  of  breath- 
ing. Proper  use  will  not  result  in  injury,  but  even  limited 
exercise  in  a  faulty  manner  may  be  productive  of  serious 
results.  Clergyman's  sore-throat  is  caused  by  using  the 
voice  in  an  unnatural  manner. 

A  pure  tone  is  a  language  in  itself.  It  is  the  expres- 
sive agent  of  all  pure  sentiment.  Discords  in  nature 
represent  violent,  harsh,  and  unpleasant  things.  Contrast 
the  meanings  of  the  following  sounds :  a  laugh  and  a 
scream ;  the  song  of  the  mocking-bird  and  the  raven's 
croak ;  a  dog's  joyous  bark  and  his  growl ;  a  note  of  song 
and  a  groan;  the  hum  of  bees  and  the  clangor  of  fire- 


VOCAL   EXPRESSION  19 

bells ;  the  driver's  whistle  and  the  rattle  of  his  wagon — 
each  of  these  is  a  language  as  definite  as  words,  and  pro- 
duces its  certain  peculiar  impression. 

FLEXIBILITY 

No  voice  can  long  continue  to  please  and  to  impress 
unless  it  has  power  to  represent  all  the  varying  phases  of 
thought  and  emotion.  It  must  at  all  times  perfectly  rep- 
resent the  sentiment.  Light  and  shade  are  as  much  feat- 
ures of  speech  as  of  painting.  Monotony  must  be  avoided. 
The  sentiment  dictates  the  shading  and  variety,  but  if  the 
instrument  is  not  properly  attuned  it  will  fail  to  respond 
in  a  satisfactory  manner. 

Thought  and  feeling  cannot  create  a  vocabulary  ;  nor 
can  they  bring  into  being  inflections,  varieties  of  tone,  and 
harmonies  of  which  the  speaker  is  ignorant.  The  senti- 
ment may  demand  all  the  powers  we  possess,  but  it  cannot 
create  new  ones.  Often  we  use  words  and  tones,  not  be- 
cause they  accurately  express  our  meaning,  but  because 
they  are  the  best  we  have. 

Monotony  may  arise  from  any  one  of  three  causes :  the 
sentiment  may  be  inherently  devoid  of  variety ;  the  voice 
may  have  been  used  in  a  certain  way  so  long  that  it  has 
worn  for  itself  a  groove  ;  or  it  may  arise  from  a  lack  of  ap- 
preciation of  tone  values.  The  latter  may  be  termed  a 
lack  of  ear.  If  we  would  make  this  more  responsive  we 
must  cultivate  it,  and  this  we  may  do  by  practice. 

POWER 

Our  principal  vocal  school  is  conversation,  and  the 
chasm  between  this  and  public  speaking  is  very  wide,  and 
is  rarely  bridged  without  much  cultivation  or  years  of 
practice.  Every  element  that  enters  into  public  delivery 
has  its  basis  in  conversation,  but  when  we  face  the  great 


20  ADVANCED    ELOCUTION 

audience  all  these  qualities  must  be  broadened,  adapted 
and  ennobled. 

True  Expression  demands  intelligence,  beauty,  and 
strength.  It  has  its  fruition  in  the  last.  The  voice 
must  elevate,  denounce,  and  command.  It  must  leap 
from  pew  to  pew,  and  from  balcony  to  balcony.  It  may 
tremble  with  the  intensity  of  earnestness.  It  may  ring 
in  the  trumpet  notes  of  command,  or  thunder  in  denun- 
ciation. It  is  the  "  harp  of  a  thousand  strings  "  whose 
chords  were  strung  by  the  hands  of  Deity,  and  we  are  the 
masters  with  our  hands  upon  the  strings. 

DEFINITIONS 

Voice  is  that  sound  which  is  made  in  the  larynx.  Whether 
it  be  high  or  low,  soft  or  loud,  pure  or  impure,  resonant 
or  hollow,  tlie  seat  of  production  is  the  same.  It  owes  its 
different  qualities  to  the  modifications  and  changes  of  the 
entire  vocal  machinery.  All  kinds  of  voice  are  produced 
by  a  vibration  of  the  vocal  bands. 

Voice  is  vocalized  breath.  Its  production  and  control 
depend  upon  the  proper  command  of  respiration.  The 
lungs  must  be  properly  filled  and  expiration  intelligently 
directed.  Breath  is  the  material  of  which  voice  is  made. 
Respiration  for  vocal  purposes  should  be  studied. 

Voice  is  that  phase  of  muscular  activity  which  results  in 
sound.  Breath  cannot  be  taken  into  nor  expelled  from 
the  lungs  without  muscular  action.  This  action  also 
controls  the  vocal  bands,  the  movements  of  the  jaw  and 
mouth  and  the  expansion  of  the  throat.  We  should, 
therefore,  direct  our  attention  to  the  exercise  of  these 
factors. 

Voice  is  the  human  organ  of  expression  through  ivhich  the 
soul  manifests  itself  in  sound.  If  we  would  call  forth  its 
harmonies  we  must  first  assume  the  mental  phases  which 
will  demand  them.     A  perfectly  cultivated  voice  responds 


VOCAL   EXPRESSION  21 

instantly  to  the  demands  of  thought  and  emotion,  but  the 
master  mind  at  the  key-board  can  draw  forth  only  the 
melodies  that  it  has  already  conceived.  The  tendency  of 
the  voice  is  to  be  truthful,  but  it  cannot  express  that 
which  has  not  been  created. 

Voice  is  the  result  of  a  psychic  condition  which  manifests 
itself  in  the  physical  nature^  causing  the  air  to  he  expelled  from 
the  lungs  through  the  larynx,  tensioning  and  controlling  the 
vocal  hands,  and  thus  setting  in  motion  a  volume  of  air  which 
is  modified  by  the  resonance  chambers,  and  which,  vibrating  on 
the  tympanum  of  the  ear,  is  called  sound. 

GENERAL  OBSERVATIONS 

All  great  powers  are  elusive  and  are  not  susceptible  of 
measurement.  Rules  can  be  presented  for  the  cultivation 
of  the  voice,  but  they  will  of  necessity  be  varied  again  and 
again  as  experience  demands.  The  artist  adds  a  dash  of 
color,  he  knows  not  why,  but  is  pleased  with  the  effect,  so 
we  must  add  to  and  take  from  rules  when  their  absolute 
observance  would  not  satisfy  the  cultured  ear.  The 
principles  here  set  forth  are  not  intended  to  be  absolute, 
but  rather  suggestive.  They  are  the  result  of  years  of 
experience,  and  it  is  believed  that  they  .will  be  helpful. 

It  is  impossible  to  reduce  to  writing  what  can  be  fully 
explained  by  the  teacher,  and  there  are  mechanical  diffi- 
culties that  cannot  be  overcome  by  the  printer's  art,  as 
no  symbols  can  express  the  exact  qualities  in  the  tones 
of  the  speaking  voice.  The  reader  and  student  are  fur- 
nished with  a  number  of  exercises  which  are  the  result  of 
much  careful  thought,  and  the  value  of  which  has  been 
tested  by  many  pupils. 

Each  branch  of  the  subject  is  considered  under  a  separate 
head  for  the  sake  of  convenience.  The  pupil  or  teacher 
will  find  it  profitable  to  select  portions  of  different  exer- 
cises for  each  lesson,  rather  than  to  proceed  chapter  by 


22  ADVANCED    ELOCUTION 

chapter.  These  exercises  may  be  varied  in  many  ways  for 
the  sake  of  freshness  or  fullness,  and  many  new  ones  may 
be  prepared. 

Of  the  exercises  presented  each,  it  is  believed,  has  a  value. 
When  old  material  is  used  it  is  retained  because  of  its 
worth.  Many  well-known  principles  may  greet  the 
student  in  a  new,  and,  it  is  hopedj  a  more  attractive  guise. 
Whatever  new  material  is  added  is  not  as  an  experiment ; 
but  because  its  utility  has  been  proved. 

No  cuts  or  diagrams  are  employed  to  illustrate  the  use 
of  the  vocal  organs.  The  student  who  wishes  to  under- 
stand fully  their  mechanism  will  find  the  subject  more 
comprehensively  treated  in  works  on  anatomy  and  physi- 
ology than  is  possible  here. 

The  cultivation  of  voice  should  begin  with  the  vowel 
sounds,  in  which  sounds  it  may  be  studied  apart  from  the 
other  elements  of  the  words.  The  beauty  of  a  language  con- 
sists chiefly  in  the  utterance  of  its  vowels.  The  consonants 
are  but  little  influenced  by  pitch,  inflection,  force,  and  time. 
Any  movement  that  may  be  made  in  the  utterance  of  a 
word  can  be  made  with  the  vowels,  and  upon  the  correct 
utterance  of  these  few  sounds  the  control  of  voice  will 
chiefly  depend. 


VOCAL  GYMNASTICS 

The  student  should  assume  an  erect  position ;  shoulders 
and  hips  back,  head  in  line,  chest  easily  expanded. 
The  position  should  not  be  stiff.  Keep  the  lungs  easily 
inflated.  The  whole  body  must  be  active.  Endeav'or  to 
conceive  each  sound  accurately  before  its  utterance,  and 
direct  the  attention  toward  giving  each  sound  exactly  as 
required,  and  then  determine  to  improve  with  each  exercise. 


VOCAL   GYMNASTICS  23 

Careless  or  indifferent  practice  is  worthless.  Remember 
that  the  ability  to  conceive  sounds  is  developed  along 
with  their  utterance. 

VOCAL  CHART 

The  vocal  chart  on  the  two  following  pages  is  not  in- 
tended to  be  complete,  but  merely  suggestive.  The  variety 
of  voice  movement  is  almost  endless.  Many  of  these  exer- 
cises are  extremes.  The  object  in  practicing  them  is  to 
render  the  voice  pure  and  to  break  up  monotony.  Three 
principles  are  rej^resented,  Pitch,  Stress  (or  force),  and 
Directions  of  Movement  (musical  and  inflected  notes). 
With  these  as  a  basis,  every  student  may  construct  a  chart. 

Directions  for  Chart,  Part  J,  j^a^/c  2^. 

X. — Commence  with  the  line  marked  X  and  sing  the 
musical  note  Do,  holding  the  note  about  four  seconds. 
Repeat,  holding  the  note  about  two  seconds.  Repeat, 
holding  through  one  second.  Repeat,  making  a  quick, 
smooth,  rounded  sound. 

Remove  the  d,  leaving  o,  and  repeat  as  before.  Take 
the  vowels  a,  e,  i,  o,  u,  and  go  through  the  same  exercise 
with  each. 

Pronounce  the  five  vowel  sounds,  giving  each  a  quick 
rounded  sound,  making  a  musical  note  as  in  singing. 

1,  Next  take  the  line  marked  with  figure  1  and  repeat 
the  five  vowel  sounds  as  above  on  the  musical  notes. 

Pronounce  firmly  the  word  no.  Remove  the  n,  leaving  o. 
Repeat  o  with  the  same  movement.  Give  the  five  vowel 
sounds  with  the  falling  inflection. 

Pronounce  the  word  eh  ?  as  a  question.  This  gives  a 
sound  resembling  long  a.  Repeat  the  vowels  on  this 
inflection.  Give  the  complete  exercise  on  high,  medium, 
and  low  pitches. 


24  ADVANCED    ELOCUTION 

VOCAL   CHART.— PART   I 


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26  ADVANCED    ELOCUTION 

2.  This  exercise  is  the  same  as  No.  1  with  the  time  on 
each  sound  increased.  Repeat  the  A^owels  on  the  musical 
note  sustained,  in  three  different  pitches. 

Select  a  medium  pitch  and  allow  the  voice  to  slide 
down  to  its  lowest  note.  Each  slide  must  begin  on  the 
sanie  pitch.  It  should  run  smoothly  and  must  have  the 
same  amount  of  force  at  all  points. 

Begin  at  the  pitch  determined  as  above,  allowing  the 
voice  to  slide  upward  for  several  notes,  observing  the  same 
general  rules  as  in  the  downward  slides.  Do  not  allow 
the  voice  to  become  thin  or  strained  at  the  end. 

3.  Take  a  medium  pitch,  begin  at  a  point  and  gradually 
increase  in  force  to  the  middle,  then  diminish  to  the  end. 
This  should  be  a  musical  note  throughout.  Any  musical 
instrument  will  give  the  correct  movement. 

Begin  at  the  same  pitch  as  above,  exercising  care  to 
strike  the  sound  very  gently,  and  allow  the  voice  to  slide 
downward,  observing  the  sv/ell  as  the  voice  proceeds. 

Beginning  on  the  same  pitch,  cause  the  voice  to  slide  up- 
ward, observing  the  general  rules  as  in  the  downward  slide. 

4.  Strike  the  vowel  forcibly,  not  abruptly,  but  with  a 
rounded  touch,  allowing  the  voice  to  diminish  gradually 
to  the  end.     This  is  a  musical  note  throughout. 

Strike  the  vowel  forcibly  and  gradually  slide  downward, 
diminishing  in  volume  to  the  end. 

Strike  the  vowel  full  and  on  the  same  pitch  as  above, 
run  the  upward  slide,  decreasing  the  force  to  the  end. 

5.  This  exercise  is  the  reverse  of  the  preceding  as  to  the 
application  of  force,  but  is  the  same  in  movement. 

6.  These  sounds,  instead  of  being  well  rounded,  are  ex- 
ploded. They  are  struck  abruptly,  and  may  be  represented 
by  the  capital  D.  They  may  be  made  on  the  musical  tone 
and  on  various  pitches,  and  may  also  be  inflected.  They 
should  receive  only  a  limited  amount  of  practice,  otherwise 
the  vocal  organs  may  be  injured. 


VOCAL   GYMNASTICS  27 

7.  This  is  exercise  1,  varied.  The  difficulty  will  be  to 
give  each  sound  the  correct  movement. 

8.  This  represents  the  tremolo,  which  is  produced  by 
rapid  successions  of  force.  Instead  of  the  organs  being 
held  firmly  and  the  volume  sustained  throughout,  weak- 
ness or  emotion  causes  a  succession  of  breaks.  Keep  the 
mouth  open  and  repeat  o  as  rapidly  as  possible  without 
moving  the  lips.  When  the  number  per  second  is  suffi- 
cient, the  tremolo  will  be  the  result. 

Run  the  upward  and  downward  slides  combined  with 
tremolo. 

9.  This  is  a  combination  of  exercises.  Care  should  be 
taken  to  represent  the  various  movements  with  exactness. 

10.  Varieties  of  movement  and  degrees  of  force  are  here 
represented. 

11.  In  this  exercise  degrees  of  force  are  shown  on  the 
musical  tones.     It  may  be  given  on  various  pitches. 

12.  Take  a  medium  pitch,  first  sound  musical ;  second, 
rising  from  pitch  selected ;  third,  longer  rise ;  fourth,  rises 
from  one  note  lower;  fifth,  rises  from  two  notes  lower; 
sixth,  longer  slide  from  two  notes  below  pitch  selected. 
In  the  second  part  these  movements  are  reversed. 

Directions  for  Chart,  Part  II,  page  25. 

X. — This  exercise  (which  is  the  same  as  X,  on  Part  I) 
may  be  repeated. 

A. — The  first  two  divisions  show  forms  of  stress  with 
gradations. 

The  last  five  symbols  in  the  third  division  represent  the 
acute  upward  inflection. 

B. — The  first  two  divisions  represent  varieties  of  stress 
with  combinations. 

The  last  five  symbols  in  the  third  division  represent  the 
upward  inflection  obscure. 

C,  D.  E. — These  exercises  represent  varieties  of  slides 


28  ADVANCED    ELOCUTION 

and  combinations  of  slides  with  musical  notes  and  differ- 
ences of  pitch. 

F. — This  exercise  requires  accuracy  of  ear.  Select  three 
pitches  (better  Do,  Me,  Sol).  Repeat  each  vowel  with 
proper  pitch  and  inflection.  The  pitches  selected  should 
be  adhered  to  throughout.     Follow  the  dotted  lines. 

G. — This  exercise  is  the  same  as  the  preceding,  with  the 
addition  of  degrees  of  force.  Proper  pitch,  force,  and  in- 
flection must  be  observed. 

H,  I. — These  represent  a  few  of  the  endless  varieties  of 
slides  and  circumflexes.  With  care  these  varieties  may 
be  accurately  represented. 

Note. — The  skillful  teacher  will  vary  these  examples  in  many 
ways  by  means  of  the  blackboard.  He  should  be  able  to  illustrate 
any  of  these  exercises.  It  is  well,  frequently,  to  imitate  a  fault  of 
the  pupil,  as  he  can  then  judge  of  it  from  a  new  standpoint— that  of 
a  hearer. 

The  teacher  may  use  the  chart  in  drill,  thus  allowing  the  student 
to  take  the  instruction  through  the  eye,  or  he  may  repeat  the 
sounds  and  require  the  pupil  to  reproduce  them.  Both  methods 
should  be  employed. 


VOCAL  PRACTICE 

The  primary  sound  of  the  larynx  is  short  a  or  approxi- 
mates this  sound.  All  other  vowel  sounds  are  modifica- 
tions of  this.  The  vocal  chords  vibrate  as  the  strings  of  any 
other  instrument  and  give  forth  a  sound.  The  primary 
sound  of  the  larynx  is  the  same  or  nearly  so  with  all  the 
vowels.  This  stream  of  sound  receives  certain  modifications 
and  moldings  which  form  it  into  the  various  vocal  elements. 

To  give  these  varieties  with  accuracy  there  must  be 
nice  adjustment  of  the  organs,  that  the  sounds  may  be 
made  with  clearness  and  precision.  Each  vowel  requires 
a  peculiar  and  a  definite  position  of  the  organs.     If  this  is 


VOCAL   PRACTICE  29 

disregarded,  the  distinctions  are  not  clear,  and  one  sound 
may  resemble  another. 

Let  the  student  sound  short  a,  and  without  closing  the 
mouth  allow  it  to  slowly  merge  into  long  a.  The  stream 
of  sound  may  remain  unbroken,  but  varied  so  as  to  form 
the  different  vowels  by  changing  the  mouth  position  and 
allowing  one  to  merge  into  the  other. 

The  beauty  and  the  shading  of  the  voice  lie  in  the  vowel 
sounds.  While  the  consonants  are  necessary  for  the  for- 
mation of  words,  and  while  for  clearness  their  correct 
utterance  must  be  observed,  yet  the  shadings  and  har- 
monies of  speech  are  in  the  vowel  elements. 

In  music  the  vowels  are  especially  prominent,  because 
they  are  largely  the  language  of  emotion,  while  the  con- 
sonants are  only  sufficiently  marked  for  clearness.  So  in 
speech,  where  the  emotions  are  dominant  the  vowels 
become  more  prominent. 

DIRECTIONS 

In  pronouncing  the  vowels  the  general  movement  of  the 
mouth  should  be  up  and  down,  and  not  from  side  to  side. 
The  throat  should  be  open  and  flexible.  Do  not  allow 
the  muscles  of  the  throat,  internal  or  external,  to  become 
rigid.  Do  not  open  the  mouth  in  toward  the  throat,  but 
down  and  out.  There  is  a  vast  difference  between  activity 
and  rigidity. 

The  general  directions  to  be  observed  in  forming  the 
vowels  are  as  follows :  a  should  be  uttered  with  the  jaw 
thrown  down  and  out,  lips  rounded  rather  than  square. 
e  takes  the  same  position  in  a  modified  form.  Avoid 
setting  the  jaw  for  this  sound.  In  i  the  mouth  is  well 
open,  the  jaw  down  and  out.  The  lips  will  take  care  of 
themselves.  In  sounding  o,  project  the  lips  and  open  the 
mouth  well,  following  very  much  the  shape  of  the  letter. 
Let  the  lips  move  flexibly,  not  rigidly.     For  u  very  much 


30  ADVANCED    ELOCUTION 

the  same  position  is  employed  as  in  o,  with  the  exception 
that  in  the  latter  the  organs  form  while  the  sound  is 
uttered,  while  in  o  the  position  may  be  first  assumed. 

In  all  these  sounds  avoid  stiffness  or  rigidity  of  the 
inner  and  outer  muscles  of  the  throat  and  mouth.  Do 
not  set  the  jaw.  Do  not  draw  in  the  lips.  Form  the 
sounds  smoothly  and  firmly,  but  without  physical  effort. 
Ease,  flexibility,  and  precision  are  the  guiding  principles. 

Repeat  each  sound  several  times,  closing  the  mouth  after 
each  trial.  Then  pronounce  one  sound,  close  the  mouth 
and  quickly  make  another,  assuming  proper  mouth  posi- 
tion. Repeat  this  exercise,  changing  from  vowel  to  vowel, 
till  each  can  be  uttered  with  precision.  This  will  establish 
correct  habits  and  the  utterance,  unconsciously,  will  be- 
come correct. 

One  of  the  worst  faults,  and  one  of  the  most  common,  is 
the  abrupt  striking  of  all  vowels,  somewhat  resembling 
an  explosion,  a  catch,  or  a  cough.  Thus  the  timbre  of  the 
tone  is  destroyed.  This  is  often  apparent  also  in  speaking 
words  beginning  with  vowel  sounds.  The  vowel  may 
be  uttered  rapidly  without  this  fault,  and  should  always 
be  well  rounded  and  made  with  an  open  throat.  If  per- 
sisted in,  this  fault  will  injure  the  throat,  and  utterly  ruin 
the  rendition  of  all  beautiful  sentiment. 


BREATHING 


This  subject  has  given  rise  to  a  world  of  discussion. 
Musicians  and  elocutionists  have  written  volumes,  and 
have  presented  diagram  after  diagram  to  jirove  their  indi- 
vidual theories. 

This  work  aims  to  avoid  all  technicalities,  and  to  present 
a  series  of  exercises  that  will  produce  the  results  desired 
without  insistence  on  any  one  theory.     In  diax)hragmatic 


BREATHING  31 

breathing  one  set  of  muscles  is  developed;  in  costal 
breathing  another  set ;  and  the  tendency  is  to  direct  atten- 
tion to  one  part  of  the  breathing  machinery  at  the  expense 
of  the  other  parts. 

The  guiding  principles  are  these : 

Practice  for  breath  capacity. 

Practice  for  breath  control. 

Learn  to  inflate  the  whole  lung  tract. 

We  inhale  by  expanding  that  part  of  the  body  surround- 
ing the  lung's  surface.  We  exhale  by  contracting  the  body 
over  the  same  surface.  We  may  fill  one  part  of  the  lung 
to  its  full  capacity  while  at  the  same  time  another  part  is 
but  slightly  expanded,  for  the  lung  expands  under  that 
part  of  the  thorax  which  is  expanded,  and  is  but  partly 
filled  ujider  that  part  which  is  little  expanded.  Expan- 
sion is  the  result  of  muscular  energy.  The  muscles  are 
both  voluntary  and  involuntary.  The  chest  rises  and 
falls,  but  by  an  exercise  of  the  will  the  expansion  may  be 
increased  or  decreased,  and  those  muscled  which  before 
were  involuntary  may  become  voluntary. 

The  lungs  lie  one  on  each  side  of  the  chest  and  are 
protected  by  the  ribs.  Before  breath  can  be  taken  the 
ribs  must  rise.  A  good  plan  is  to  notice  the  breathing  of 
animals.  In  a  horse  that  has  been  exercised  it  will  be 
seen  that  the  ribs  move  backward  and  forward  under  the 
skin.  With  the  forward  movement  expansion  and  inhala- 
tion occur,  with  the  backward  movement  contraction  and 
exhalation  occur.  In  a  dog  lying  on  his  side,  after  exer- 
cise, the  ribs  will  be  seen  to  rise  and  fall — contraction 
and  expansion — inhalation  and  exhalation. 

In  expanding  the  ribs  the  trunk  is  not  raised.  The  ribs 
are  flexibly  fixed  and  are  pulled  up  and  out,  down  and 
in,  by  muscular  energy.  "  The  ribs  move  like  a  bucket- 
handle,"  says  Lennox  Browne.     Rather  let  us  say  like  two 


32  ADVANCED    ELOCUTION 

bucket-handles.  When  they  are  dropped  their  sides  ap- 
proximate, when  raised  they  are  farther  apart. 

In  speech  we  breathe  for  two  purposes — one  to  supply 
the  body  with  oxygen,  the  other  for  vocalization.  When 
much  voice  is  required,  a  greater  amount  of  breath  is 
necessary,  not  so  much  for  voice  purposes,  perhaps,  as 
to  sustain  the  physical  effort. 

Under  great  excitement  we  not  only  breathe  more  fully, 
but  more  frequently  to  supply  the  waste  that  is  caused  by 
increased  phj^sical  activity.  Not  only  is  more  air  needed, 
but  a  given  amount  becomes  vitiated  more  rapidly. 

The  Nose 

Many  voices  are  disagreeable  because  of  improper  nasal- 
ity. The  so-called  nasal  tone  is  the  result  either  of  too 
little  use  or  of  excessive  use  of  this  organ. 

A  person  with  a  cold  in  the  head  is  deprived "  of  head 
resonance,  and  the  voice  is  said  to  be  nasal.  On  the  other 
hand,  one  who  scarcely  opens  the  mouth,  thus  forcing  the 
stream  of  vocalization  through  the  nose  has  another  kind 
of  nasality.  There  are  two  passages  for  the  tone,  the 
mouth  and  the  nose.  When  they  perform  their  functions 
in  unison,  a  pleasing  voice  is  the  effect.  When  one  is 
used  to  the  exclusion  of  the  other  a  disagreeable  sound  is 
the  result.  In  breathing  care  should  be  taken  to  breathe 
through  the  nose,  as  mouth  breathing  is  injurious.  The 
air  is  warmed  on  its  passage  through  the  nose  to  the 
lungs.  Dust  and  impurities  are  strained  from  the  air  and 
retained  in  the  nasal  passages,  which  regulate  also  the 
moisture  of  the  air  and  give  the  voice  a  pleasing  resonance. 

Exercises 

1.  Stand  easily  erect.    Head  well  poised,  shoulders  back. 
Mouth   closed,  inhale   inaudibly  through  five   counts. 
Exhale  through  five. 


BREATHING  33 

Inhale  through  six  counts — exhale  through  six.  This 
exercise  may  be  repeated,  adding  one  count  each  time. 
The  whole  exercise  should  be  continuous,  no  interval 
elapsing  between  inhalation  and  exhalation  and  inhalation 
again.  Care  must  be  taken  not  to  overtax  the  lungs  at 
first. 

Inhale  as  before,  exhale  on  short  a  in  a  whisper.  The 
time  may  be  regulated  and  varied  by  the  teacher  or  pupil. 

Inhale  and  whisper  short  a,  striking  it  with  full  force, 
then  let  the  tone  gradually  die  away. 

Inhale,  and  on  the  same  sound,  beginning  almost  in- 
audibly,  increasing  in  volume  and  exhausting  the  lungs 
at  the  end. 

Inhale  and  whisper  the  same  vowel,  sustaining  the 
voice  with  equal  volume  throughout. 

Inhale,  whisper  the  five  long  vowel  sounds,  separating 
each  ;  give  these  on  one  breath,  without  inhaling  between. 

Inhale,  and  repeat  vowels  twice  as  above — continuing 
as  long  as  the  breath  lasts,  without  exhaustion. 

2.  Lock  the  hands  ahd  place  them  firmly  upon  the 
upper  part  of  the  chest.  Take  a  slow  inhalation,  expand- 
ing gradually  but  firmly  under  the  hands.  The  pressure 
of  the  hands  centres  the  attention  on  the  muscles  beneath  ; 
it  also  gives  these  muscles  something  to  press  against. 
The  shoulders  must  not  be  raised. 

With  the  hands  in  this  position  all  the  foregoing  ex- 
ercises may  be  practiced. 

3.  Stand  erect,  place  the  backs  of  hands  against  the 
muscles  of  the  back  so  that  the  thumbs  may  touch  the 
shoulder  blades.  Inhale,  expanding  under  the  hands  as 
much  as  possible.  Exhale,  allowing  a  gradual  recession. 
The  body  must  not  be  swayed  forward. 

The  exercises  under  No.  1  may  be  repeated  with  the 
hands  in  this  position. 

4.  Place  the  hands  on  the  sides,  fingers  forward,  thumbs 

3 


34  ADVANCED    ELOCUTION 

back.  Space  between  thumb  and  finger  under  armpits, 
bring  hands  well  up.  They  are  now  over  the  centre  of 
lung  tissue.     (The  chief  expansion  must  be  here.) 

With  the  hands  in  this  position  constantly  increase  the 
expansion  from  side  to  side.  This  expansion  occurs  sev- 
eral inches  above  the  waist  line. 

Repeat  the  exercises  under  No.  1  with  the  hands  in  this 
position. 

Stand  erect.  Hands  on  hips.  In  this  exercise  exi)and 
the  whole  lung  from  top  to  bottom  and  from  centre  to 
circumference,  using  all  the  muscles  to  which  the  atten- 
tion has  been  directed  in  the  above  exercises. 

5.  Inhale — hold  the  breath — bend  the  body  to  the  right 
at  the  waist  line  (do  not  bend  head  or  limbs),  exhale  in 
this  position  inaudibly.  Erect  position:  Inhale,  bend 
left,  exhale ;  inhale,  bend  back  at  hips,  exhale. 

Bend  to  right,  inhale,  erect  position,  exhale. 

Bend  to  left,  inhale,  erect  position,  exhale. 

Bend  back  at  hips,  inhale,  erect  position,  exhale. 

Erect,  inhale,  right  to  left  with  continuous  inhalation, 
back  at  hips,  continuing,  erect  position. 

Repeat  the  above  with  short  a  in  a  whisper. 

All  of  these  exercises  may  be  repeated,  inhaling  in  the 
same  manner  and  exhaling  on  the  vowel  sounds,  a,  e,  i, 
o,  u. 

Note. — In  all  these  exercises  emphasize  these  facts :  The  breath 
must  be  taken  inaudibly  through  the  nose.  Inhale  by  ex]mnsion  and 
exhale  by  recession.  Most  breath  is  taken  in  the  part  where  there  is  most 
outward  expansion.  Breath  is  wasted  by  too  sudden  recession.  Breath 
is  economized  by  keeping  a  part  of  the  expansion. 

Special  Exercises 

Place  the  hands  on  the  chest,  sides  and  back,  as  in  Ex- 
ercises 1,  2,  3,  expanding  and  relaxing  the  muscles,  hold- 
ing the  breath. 

Inhale  and  pronounce  forcibly  the  five  vowel  sounds  in 
a  whisper  without  taking  breath  between. 


INFLECTION  35 

Pronounce  the  vowels  forcibly  in  a  whisper,  inhaling 
for  each.  These  last  two  exercises  may  be  practiced  with 
vocalization. 

Inhale  and  recite  a  line  or  two  of  some  poem  without 
inhaling  between  the  words.  Repeat  two  lines,  three 
lines,  etc. 

A  skillful  teacher  will  be  able  to  combine  and  vary 
these  exercises  almost  indefinitely,  but  care  should  be 
taken  not  to  allow  the  pupil  to  over-exercise.  A  few 
minutes'  practice  each  time  is  sufficient. 


Inflection 


"  'Tis  not  enough  the  voice  be  loud  and  clear, 
'Tis  modulation  that  must  charm  the  ear." 

There  is  nothing  in  speech  which  has  greater  power  to 
interpret,  to  give  variety,  and  to  suggest  the  light  and 
shade  of  sentiment  than  the  proper  use  of  Injlections  or 
Slides.  These  movements  of  the  voice  oftentimes  have 
meanings  of  their  own  apart  from  spoken  words.  They 
are  the  tones  of  the  voice  which,  to  a  degree,  are  the 
natural  language  of  man. 

Much  of  the  monotony  of  speech  is  due  either  to  their 
absence  or  to  a  want  of  their  proper  use.  The  so-called 
ministerial  tone  is  always  marked  by  a  lack  of  their 
intelligent  observance. 

These  shades  with  their  modifications  are  almost  unlim- 
ited in  number.  Only  a  few  of  them,  therefore,  can  be 
suggested,  leaving  the  others  to  the  good  taste  and  to  the 
ear  of  the  speaker. 

Inflection  marks  the  great  difference  between  speech 
and  song.  In  music  the  notes  are  held  on  the  level ;  the 
pitch  changes  between  the  notes,  but  in  speech  the  pitch 
usually  changes  on  the  note,  making  an  inflection. 


36  ADVANCED    ELOCUTION 

In  interpreting  the  various  kinds  of  sentiment  the  num- 
ber of  inflections  does  not  vary  to  any  great  extent.  We 
concern  ourselves  with  the  kind  of  inflections  rather  than 
with  the  number.  In  reading  descriptive  or  narrative  selec- 
tions the  use  of  slides  is  apparent,  but  it  is  equally  im- 
portant in  beautiful  and  emotional  passages.  All  emotion 
is  based  upon  ideas — upon  facts  ;  and  these  must  stand  out 
clearly.  The  student  must  avoid  singsong  and  whine  and 
monoton}^  in  expressing  emotional  selections. 

Inflection  (in  the  broadest  sense) — Shows  Contrast— 
They  tell  the  Facts. 

Length  of  the  Slide — Shows  the  Importance  of  the  Fact. 

Straight  Slides — Show  Directness  of  Purpose. 

Waves — Show  Beauty  and  Sympathy. 

Broken  Slides — Show  Weakness  or  Uncertainty. 

Zigzag  or  Continuous  AA^ave  Movements — Repre- 
sent Sarcasm,  Irony,  Scorn,  and  Dwplicity. 

Inflections  may  be  divided  in  accordance  with  the  fol- 
lowing diagram : 


Slides — Rising  or  Falling  < 


Straight 

Curved 

Long 

Short 

Circumflex 


Write  the  figure  1  on  tlie  board  and  ask  the  student  to 
read  it.  Add  the  figure  2.  Continue  to  add  figures,  leav- 
ing the  impression  that  each  is  the  last. 

The  figures  being  still  on  the  board  ask  the  pupil  to 

tead  the  series.     The  result  will  probably  be  as  follows : 

\      \     \      \      \      \ 

First  12     3     4     5     6 

Second      12     3     4     5     6 


INFLECTION  37 

The  letters  of  the  alphabet  may  be  used  in  the  same 
manner. 

Hold  several  objects  in  your  hand  at  the  same  time  and 
ask  the  pupil  to  name  them.  Then  hold  up  each  sepa- 
rately.    This  will  probably  be  the  result : 

/  /  /  s 

First         Pen,  Pencil,  Chalk,  Ruler. 

Second      Pen,  Pencil,  Chalk,  Ruler. 

These  exercises  show  that  when  an  idea  is  conceived  sep- 
arately— independently,  if  it  is  expressed  in  a  single  word, 
that  word  takes  the  downward  inflection.  That  word 
may  now  be  joined  to  another  and  the  voice  in  uttering  it 
may  be  sustained,  because  its  full  meaning  is  in  suspense 
until  the  other  word  completing  the  idea  has  been  uttered. 
When  several  words  are  employed  to  represent  a  complete 
or  an  independent  idea  the  downward  movement  is  usu- 
ally manifest  in  the  most  important  or  suggestive  word. 
When  they  are  of  equal  importance  the  concluding  word 
takes  the  downward  movement.  Clauses  and  sentences 
may  follow  each  other,  all  with  the  sustained  movement. 
This  shows  close  continuity  between  the  ideas  involved, 
and  that  the  mind,  as  it  were,  is  held  up  or  suspended  until 
the  completion  of  a  certain  line  of  thought.  It  is  a  rule 
of  composition  that  it  is  best  to  express  ourselves  in  short 
sentences,  and  the  same  principle  should  be  observed  in 
speaking.  We  should  deliver  our  sentiment,  thought  by 
thought,  remembering  that  the  sustained  voice  shows  con- 
tinuity and  the  downward  inflection  marks  completeness. 

The  non-observance  of  this  principle  gives  rise  to  much 
monotony.  Readers  struggle  through  long,  involved  sen- 
tences holding  up  the  voice  to  the  end.  There  may  be 
many  complete  thoughts  in  one  sentence,  and  they  should 
be  given  as  such.  While  one  author  writes  in  short  sen- 
tences, another  uses  longer  and  more  involved  ones  to 


38  ADVANCED    ELOCUTION 

express  the  same  ideas.     It  is  not  logical  to  suppose  thai 
we  must  change  our  methods  of  expression  because  writers 
differ  in  punctuation '  and  grammatical  construction. 
Read  the  word  "  No  "  expressing  the  following  ideas  : 

Question. 

Negation.  Surprise. 

No  -{   Positive  Negation.     Sarcasm. 

Angry  Negation.        Qualification. 
Uncertainty. 

Represent  the  following  with  the  word  "  well ;" 

{Question.     Sarcasm. 
Consent.      Completeness. 
Doubt.         Something  to  be  added. 

Repeat  the  following  adjectives :  first  in  the  ordinary 
sense,  and  then  with  greater  intensity  and  notice  the  differ- 
ence in  the  slide : 

Awfuin      Grand^N      Glorious^  \ 
Beautifur\      Noble^      Vast^" 

As  a  general  rule,  the  closing  word  of  a  sentence,  unless 
interrogative,  takes  the  falling  inflection,  but  the  weaker  or 
the  dependent  clause  is  marked  with  sustained  voice,  and 
the  positive  or  independent  clause  with  falling  inflection, 
no  matter  in  what  part  of  the  sentence  it  occurs. 

Examples 

Then  Agrippa  said  unto  Paul',  "  Thou  art  permitted  to 
speak  for  thyself." 

"  Thou  art  permitted  to  speak  for  thyself  \"  said  Agrippa 
unto  Paul'. 

Hon^or  is  the  subject  of  my  sto'ry.  The  subject  of  my 
story  is  hon^or. 

Strange  com^pany  we  har'bored.  We  har'bored  strange 
com^pany. 


INFLECTION  39 

"Give  us  a  songV'  the  soldiers  cried'.  The  soldiers 
cried',  "  Give  us  a  song\" 

INFLECTIONS   SHOW  CONTRAST 

The  fault,  dear  Brutus,  is  not  in  our  stars',  but  in  our- 
selves\  that  we  are  underlings. 

Give  me  neither  pov'erty  nor  rich^es. 

Man  cannot  know'  unless  he  can  wor^ship  in  some  way. 

Bru'tus  and  Cai'sar.     What  should  be  in  that  Caesar  ? 

'Tis  hard  to  say,  if  greater  lack  of  skill  appears  in 
writ'ing  or  in  judging  ill. 

INFLECTIONS  TELL  THE  FACTS 

1.  Tal'ent  is  some'thing,  but  tact'  is  ev^erything.  Tal'cnt 
is  se'rious,  so'ber,  grave',  and  respectable  ;  tact'  is  all  that' 
and  more^  too.  It  is  not  a  sixth^  sense\  but  is  the  life'  of  all 
the  five'.  It  is  the  open  eye'  the  quick'  ear',  the  judging 
taste',  the  keen'  smell',  and  the  lively  touch' ;  it  is  the  in- 
ter'preter  of  all  rid'dles,  the  surmount'er  of  all  dif  'Acuities, 
the  remov'er  of  all  ob'stacles. — Robertson. 

2.  Four'score  and  sev'en  years  ago',  our  fath'ers  brought 
forth  upon  this  con'tinent  a  new'  na'tion,  conceived'  in 
lib'erty  and  ded'icated  to  the  prop'osition  that  all'  men' 
are  crea'ted  e'qual. — Lincoln. 

3.  What  a  piece  of  work'  is  man' !  how  no'ble  in  rea'son ! 
how  in'finite  in  fac'ulties !  in  form'  and  mov'ing  how  ex- 
press' and  ad'mirable !  in  ac'tion  how  like  an  an'gel !  in 
apprehen'sion  how  like  a  god' !  the  beau'ty  of  the  world' ; 
the  paragon  of  an'imals. — From  "  Hamlet " — Shakespeare. 

LENGTH  OF  SLIDE  SHOWS  IMPORTANCE 
OF  THE  FACT 

1.  Do  you  think  1/  am  easier  to  be  played  upon  than  a 
pipe/?  Call  me  what  instrument  you  will',  though  you 
can  fret'  me,  you  can'not  play\  upon  me. — From  ^^  Ham- 
let " — Shakespeare. 


40  ADVANCED    ELOCUTION 

2.  The  clear  concep^tion,  outrun'ning  the  deduc'tions  of 
logic\  the  high'  pur^pose,  the  firm'  resolve^  the  dauntless 
spir^it,  speak'ing  on  the  tongue\  beam'ing  from  the  eye\ 
informing  ev'ery  feature,  and  urg  ing  the  whole'  man'  on\  - 
ward,  right  on\  ward  to  his  ob^ject — this\  thisN  is  el'oquence, 
or  rath'er  it  is  something  great'er  and  high'er  than  all' 
el'oquence :  it  is  ac^tion,  nobble,  sublime,  God\  like  acHion. 

-From  ^^ Eloquence ''^ — Webster. 

3.  My  Lords',  I  am  amazed^ ;  yes,  my  Lords',  I  am 
araazedX  at  his  Grace's'  speech\ 

4.  She  swore  in  faith  'twas  strange^ 

'Twas  pass  \  ing  strange^ ; 
'T was  pitiful ;  'twas  won  \dro us  pitiful. 

5.  Thou  shalt  love  the  Lord'  tliy  God'  with  all  thy 
heart\,  and  with  all  thy  soul\,  and  with  all  thy  mind\. 

Repeat  words  like  no,  well,  you,  Iiow  with  slides  of  differ- 
ent lengths  and  note  the  gain  in  strength. 

Animated  speech  is  full  of  slides.  Interesting  things 
become  uninteresting,  and  uninteresting  things  interesting 
by  their  neglect  or  use. 

STRAIGHT  SLIDES 

Straight  lines  and  angles  represent  intellectuality, 
strength,  and  directness  of  purpose.  This  is  also  true  of 
the  movements  of  the  body.  Gestures  of  emphasis  and 
decision  usually  move  by  a  direct  line  to  reach  their  pur- 
pose. 

This  is  equally  true  of  voice ;  directness  of  purpose  re- 
quires directne^  of  movement. 

The  student  may  be  allowed  to  read  the  following,  plac- 
ing the  inflections  in  such  a  manner  as  best  to  suggest  the 
thought : 

1.  Read  not  to  contradict  and  conflict,  nor  to  believe  and 
take  for  granted,  nor  to  find  talk  and  discourse,  but  to  weigh 


INFLECTION  41 

and  consider.  Some  books  are  to  be  tasted,  others  to  be 
swallowed,  and  some  few  to  be  chewed  and  digested — that 
is,  some  books  are  to  be  read  only  in  parts ;  others  to  be 
read,  but  not  curiously ;  and  some  few  to  be  read  wholly, 
and  with  diligence  and  attention. — From  ^^ Essay  on  Studies  " 
— Lord  Bacon. 

2.  I  do  not  rise  to  fawn  and  cringe  to  this  house,  I  do 
not  rise  to  supplicate  you  to  be  merciful  towards  the  nation 
to  which  I  belong — towards  a  nation  which,  though  sub- 
ject to  England,  yet  is  distinct  from  it.  It  is  a  distinct 
nation ;  it  has  been  treated  as  such  by  this  country,  as 
may  be  proved  by  history,  and  by  seven  hundred  years  of 
tyranny. — Daniel  0'  Connell. 

3.  The  War  is  over.  It  is  for  us  to  bury  its  passions 
with  its  dead ;  to  bury  them  beneath  a  monument  raised 
by  the  American  people  to  American  manhood  and  the 
American  system,  in  order  that  "  the  nation  shall,  under 
God,  have  a  new  birth  of  freedom,  and  that  the  govern- 
ment of  the  people,  by  the  people,  and  for  the  people  shall 
not  perish  from  the  earth." — Henry  W.  Watterson. 

4.  Unwarned  by  any  sunset  light 
The  gray  day  darkened  into  night, 
A  night  made  hoary  with  the  swarm 
And  whirl-dance  of  the  blinding  storm, 
As  zigzag  wavering  to  and  fro 
Crossed  and  recrossed  the  winged  snow ; 
And  ere  the  early  bedtime  came 
The  white  drift  piled  the  window  frame, 
And  through  the  glass  the  clothes-line  posts 
Looked  in  like  tall  and  sheeted  ghosts. 

From  "  Snow- Bound  " —  Whittier. 


INFLECTIONS   IN   EMOTIONAL   SELECTIONS 

In  nature,  beauty  and  harmony  are  usually  represented 
by  curved  lines.  Hence,  inflections,  in  emotional  selec- 
tions, indecision  and  all  products  of  the  sensibilities,  re- 
quire waves  and  curves. 


42 


ADVANCED    ELOCUTION 


Let  the  student  read  the  following  selection  with  slides 
as  in  No.  1  and  then  as  in  No.  2.  The  difference  between 
straight  lines  and  curves  will  be  apparent : 


Alone  I  stand  ;  on  either  hand 
In  gathering  gloom  stretch  sea  and  land ; 
Beneath  my  feet,  with  ceaseless  beat, 
The  waters  murmur  low  and  sweet. 

From  '' NigUfalV'^W.  W.  Ellmorth. 


1. 

2. 

\"\-y^ 

\  -  \  -  // 

-//  -/-\ 

s^'    ^      -    X.     ^ 

/-/  -  \  / 

-X  ^^-  -\^ 

-\  //~\ 

Waves  and  curves  should  also  be  applied  to  the  follow- 
ing extracts : 

1.  But  far  on  the  deep  there  are  billows 
That  never  shall  break  on  the  beach ; 
And  I  have  heard  songs  in  the  silence, 

That  never  shall  float  into  speech ; 
And  I  have  had  dreams  in  the  Valley, 

Too  lofty  for  language  to  reach. 
From  "  The  Song  of  the  Mystic  " — Father  Ryan. 


2.  There's  a  bower  of  roses  by  Bendemeer's  stream, 

And  the  nightingale  sings  round  it  all  the  day  long; 
In  the  time  of  my  childhood  'twas  like  a  sweet  dream, 

To  sit  in  the  roses  and  hear  the  bird's  song. 
That  bower  and  its  music  I  never  forget, 

But  oft  when  alone,  in  the  bloom  of  the  year, 
I  think — Is  the  nightingale  singing  there  yet  ? 

Are  the  roses  still  bright  by  tlie  calm  Bendemeer ! 

From  "  Lalla  Rookh  " — Thomas  Moore, 


INFLECTION  43 

3.  The  Lord  is  my  shepherd ;  I  shall  not  want.  He 
maketh  nie  to  lie  down  in  green  pastures ;  He  leadeth  me 
beside  the  still  waters  ;  He  restoreth  my  soul ;  He  leadeth 
me  in  the  i)aths  of  righteousness  for  His  name's  sake. 

Yea,  though  I  walk  through  the  valley  of  the  shadow 
of  death,  I  will  fear  no  evil;  for  Thou  art  with  me;  Thy 
rod  and  Thy  staff  they  comfort  me. 

From  "  Twenty-third  Psalm  " — Bible. 


SHARP   ANGLES,  ZIGZAG,  AND    CONTINUOUS   WAVE 
MOVEMENTS   IN    THE   SLIDE 

These  show  sarcasm,  irony,  scorn,  duplicity,  etc.  The 
wave  is  usually  employed  to  give  grace  and  beauty  to 
expression,  but  the  angular  circumflex — never. 

The  exercises  below  may  be  varied,  by  giving  them  with 
straight  line  inflections,  curves,  and  angles  : 

1.  And  this  man 

Is  now  become  a  god ;  and  Cassius  is  a  wretched  creature, 

and  must  bend  his  body 
If  Caesar  carelessly  but  nod  on  him. 

From  "  Julius  Cxsar  " — Shakespeare. 

2.  What  should  I  say  to  you  ?     Should  I  not  say, 
Hath  a  dog  money  ?     Is  it  possible 

A  cur  can  lend  three  thousand  ducats  ?  or, 
Shall  I  bend  low,  and  in  a  bondman's  key, 
With   'bated    breath,   and    whispering   humbleness,   say 
this, — 

"  Fair  sir,  you  spet  on  me  on  Wednesday  last ; 
You  spurned  me  such  a  day ;  another  time 
You  call'd  me  dog ;  and  for  these  courtesies     . 
I'll  lend  you  thus  much  monies !" 

From  "  TJie  Merchant  of  Venice  " — Shakespeare. 

3.  Is  the  gentleman  done?  Is  he  completely  done? — 
From  Grattan's  Reply  to  Corry. 


44  ADVANCED   ELOCUTION 

4.  Brutus  is  an  honorable  man  ;  so  are  they  all,  all 
honorable  men. — From  ^^  Julius  Csesar  " — Shakespeare 

5.  Oj  your  sweet  eyes,  your  low  replies ! 
A  great  enchantress  you  may  be ; 
But  there  w^as  that  across  his  throat 
Wliich  you  had  hardly  cared  to  see. 
From  "  Lady  Clara  Vere  de  Vere  " — Tennyson. 


LONG  RISING    SLIDE  AND   LONG  FALLING  SLIDE 

A  long  rising  slide  begins  beloio  the  mean  pitch  and  a  long 
falling  slide  above  it.  The  exception  to  this  rule  is  when 
the  nature  of  the  sentiment  changes,  causing  the  pitch  to 
change  and  the  slide  is  carried  with  it. 

1.  That  which  we  call  a  rose 
By  any  other  name      * 
Would  smell  as  sweet. 

2.  Horatio,  (referring  to  ghost  of  Hamlefs  father)  I  think 
I  saw  him  yester  night. 

Hamlet.     Saw?  Who? 

Horatio.     My  lord,  the  king  your  father. 

Hamlet.     The  King  my  father ! 

From  "  Hamlet " — Shakespeare. 

3.  Touchstone.     How  old  are  you,  friend  ? 
William.     Five  and  twenty,  sir. 

Touchstone.     A  ripe  age.     Is  thy  name  William  ? 
William.     William,  sir. 

From  '^As  You:  Like  It " — Shakespeare. 

The  movement  of  the  voice  in  exercises  2  and  3  may 
be  indicated  by  the  following  : 

Horatio. . 

Hamlet.     /  \  . 

Horatio. 

Hamlet.     —  /  —  / 


INFLECTION 


45 


Touchstone.  ■  —  \ 

William.     /  —   \  — 

Touchstone. /  — 

William.     —  / 


—  / 


In  the   following  classes 

In   the  following 

classes 

of     sentiment     the     rising 

of     sentiment    the 

falling 

slide  predominates : 

slide  predominates : 

The  Negative. 

The  Positive. 

Continuity, 

Completeness 

Weakness, 

Strength, 

Sympathy, 

Harshness, 

Deference, 

Assertion, 

Uncertainty, 

Certainty, 

Interrogation. 

Dogmatism. 

Read  the  following : 

Will  you' close' that' door'? 

Will  you^  close^  that^  door^  ? 

La'dies  and  gen'tlemen. 

Laddies  and  gen^tlemen. 

Boys',  Boys\     John',  John\ 

You  will'?    Youwiir. 

Hello',  Cen'tr^ 

l1!     Hello\  Central! 

Read  the  following,  showing  sympathy : 

Let  not  your  hearts  he  troubled ;  ye  believe   in  God, 
believe  also  in  me. — From  the  Bible. 

Read  the  above  as  a  command. 

Read  the  following  exercises,  noting  the  inflections  and 
their  kind : 

1.  Can  storied  urn  or  animated  bust 

Back  to  its  mansion  call  the  fleeting  breath  ? 
Can  honor's  voice  provoke  the  silent  dust. 
Or  flattery  soothe  the  dull,  cold  ear  of  death  ? 

From  Gray^s  ^^Flegy.^^ 


46  ADVANCED   ELOCUTION 

2.  To  be  or  not  to  be — that  is  the  question. 

3.  Napoleon  was  sitting  in  his  tent ;  before  him  lay  a 
map  of  Italy.  He  took  four  pins  and  stuck  them  up, 
measured,  moved  the  pins,  and  measured  again.  Now, 
said  he,  that  is  right ;  I  will  capture  him  there. 

4.  You  shall  die,  base  dog ! 

5.  Blessed  are  the  merciful,  for  they  shall  obtain  mercy. 

6.  What  is  it  the  gentlemen  wish  ? 

7.  Within  its  shade  of  elm  and  oak, 
The  church  of  Berkley  Manor  stood. 

8.  For  always  I  am  Caesar. 
Shall  Caesar  send  a  lie  ? 

9.  Cassius.     I  may  do  that  I  shall  be  sorry  for. 
Brutus.     You  have  done  that  you  should  be  sorry  for. 

10.  Dear,  patient,  gentle,  noble  Nell  was  dead. 

11.  Please  give  me  a  penny. 

12.  No ;  I  will  not. 

13.  The  war  is  inevitable. 

14.  Shylock.     Antonio  is  a  good  man. 

Bassanio.  Have  you  heard  any  imputation  to  the  con- 
trary ? 

Shylock.  Oh,  no,  no,  no,  no ; — my  meaning  in  saying  he 
is  a  good  man,  is  to  have  you  understand  me  that  he  is 
sufficient. — From  "  Merchant  of  Venwe  " — Shakespeare. 

15.  Shylock.     Three  thousand  ducats—  well  ? 
Bassanio.     Ay,  sir,  for  three  months. 
Shylock.     For  three  months — well  ? 


INFLECTION  •  4? 

Bassanio.  For  which,  as  I  told  you,  Antonio  shrtll  be 
bound. 

Shylock.     Antonio  shall  be  bound — well  ? 

Bassanio.  May  you  stead  me  ?  Will  you  pleasure  me  ? 
Shall  I  know  your  answer  ? 

Shylock.  Three  thousand  ducats  for  three  months  and 
Antonio  bound  ? — Ibid. 


16.  Metellus.    Wherefore  rejoice?    What  conquest  brings 
he  home  ? 

What  tributaries  follow  him  to  Rome, 
To  grace  in  captive  bonds  his  chariot  wheels  ? 
You  blocks,  you  stones,  you  worse  than  senseless  things ! 
From  "  Julius  Caesar  " — Shakespeare. 

17.  0,  what  a  rogue  and  peasant  slave  am  I ! 

Questions  are  usually  marked  by  rising,  and  answers  by 
the  falling  inflection. 

Regard  must  be  had,  however,  to  the  meaning  of  the 
question  or  answer,  rather  than  to  its  mere  form. 

In  intense  sentiment  the  question  is  marked  with  rising 
inflection  on  almost  every  word.  It  should  be  noticed 
that  the  closing  word  is  not  always  so  marked,  but  often 
the  inflection  culminates  in  the  emphatic  word.  When  a 
certain  answer  is  expected  or  demanded,  or  where  assertion 
is  prominent,  and  often  when  the  question  is  long  and  in- 
volved, it  may  be  marked  in  whole  or  in  part  with  the 
downward  slide. 

Examples 

1.  Hold  you  the  watch  to-night? 
We  do,  my  lord. 

2.  When  can  their  glory  fade? 

3.  Is  it  so  nominated  in  the  bond  ? 

4.  Has  there  any  old  fellow  got  mixed  with  the  boys  ? 


48  ADVANCED   ELOCUTION 

5.  Hamlet,     Now,  mother,  what's  the  matter  ? 
Queen.     Hamlet,  thou  hast  thy  father  much  offended. 

6.  Do  you  think  I  am  easier  to  be  played  upon  than  a 
pipe  ? 

The  student  should  select  sentences  for  himself  embody- 
ing these  principles.  The  plays  of  Shakespeare 'abound 
in  excellent  examples. 


QUALITY 

"A  natural  voice  is  the  golden  key  which  unlocks  the  human  heart." 

By  Quality  the  kind  of  voice  is  meant.  In  all  scientific 
study  it  is  necessary  to  classify,  to  divide  and  sub-divide 
in  order  that  each  phase  may  stand  out  clearly.  Men  are 
divided  into  types,  so  are  the  voices  in  which  they  speak. 
These  types  or  qualities  simply  represent  extremes ;  and 
between  them  are  numerous  gradations  which  merge  into 
each  other. 

A  certain  tone  is  usually  the  language  of  harshness  or 
violence,  but  these  emotions  may  gradually  recede  until 
the  voice  takes  its  normal  quality.  These  gradations 
cannot  easily  be  shown,  except  by  the  living  teacher. 
Therefore  only  extremes  can  be  presented  in  a  work  of 
this  nature,  leaving  the  refinements  and  gradations  of 
vocal  expression  to  the  intelligence  of  the  student. 

These  various  qualities  are  a  part  of  the  tone  language 
that  is  universal  among  animals,  including  man.  The 
latter  has  modified,  enlarged,  and  adapted  this  instrument 
of  expression ;  but  in  the  tones  of  his  voice  man  has  not 
gotten  far  from  the  natural  animal  expression,  except,  in 
refinement  and  variety.  Words  may  conceal  thought,  but 
it  is  difficult  to  conceal  what  the  tone  strives  to  express. 
In   all   extreme   conditions  of  life,  in   sudden   emotion, 


QUALITY  49 

words  are  forgotten  and  the  various  kinds  of  cries  pre- 
dominate. We  groan  in  sudden  pain ;  when  it  is  long 
continued  we  moan ;  when  depressed  we  sigh,  while  fright 
expresses  itself  in  a  scream,  and  even  when  words  are 
uttered  under  these  conditions  their  utterance  is  of  minor 
importance. 

The  roar  of  the  lion  suggests  power,  so  does  the  roar  of 
Niagara,  or  the  same  quality  in  the  human  voice.  The 
animal's  scream  suggests  fright,  and  startles  the  listener ; 
the  same  is  true  of  the  screech  of  a  locomotive  or  the 
shrieks  of  a  w^oman.  A  dog  growls,  so  does  the  thunder, 
so  does  man,  each  suggests  a  threat.  Animals  moan,  so  do 
the  winds,  and  so  do  men.  Whenever  these  sounds  are 
produced,  whether  by  brutes,  men,  or  inanimate  nature, 
their  effect  is  relatively  the  same. 

This  truth  is  so  common  in  its  application,  that  we  use 
the  same  terms  in  speaking  of  the  sounds  made  by  inani- 
mate nature,  as  in  speaking  of  those  made  by  human  or 
animal  voices.  The  winds  "  sigh,  moan,  and  howl ;  the 
brook  chatters,  babbles,  and  murmurs  ;  the  breezes  whisper, 
the  tempest  shrieks,  the  waves  sob,  the  thunder  roars ; 
thus  literally  nature  '  speaks  a  various  language.' " 

The  qualities  of  sound  are  observed  by  musicians.  The 
dirge  differs  from  the  serenade,  and  the  music  of  the  dance 
is  unlike  the  stately  march.  Because  of  the  different 
qualities  of  musical  instruments,  organs  are  in  our  churches, 
pianos  in  our  parlors,  stringed  instruments  in  concert 
halls,  while  the  drum  and  fife  lead  to  battle. 

The  human  voice  has  a  greater  variety  of  power,  when 
coupled  with  words,  than  all  of  these  combined,  and  thus 
the  value  of  division  under  quality  becomes  obvious. 

It  is  the  purpose  to  follow  the  usual  divisions  under 
this  head,  and  while  these  qualities  might  readily  be  sub- 
divided, it  is  not  believed  to  be  best  to  do  so  in  the  pres- 
ent work. 
4 


50  ADVANCED    ELOCUTION 


Pure 


Ordinary Normal 

Enlarged Orotund 

Very  Low Pectoral 

Intermittent Tremolo 


The  following  are  usually  classed  as  impure,  but  this 
impurity  differs  in  kind  and  degree : 

Breathy Aspirate 

Throaty,  Harsh,  Rasping    .    .  Guttural 
Impure  \  Improper  use  of  Nose  ....  Nasal 

Very  High Falsetto 

Weak,  Thin Oral 

PURE  VOICE 

This  is  the  natural  voice  for  the  expression  of  all  pure 
sentiment.  The  voice  should  always  be  pure,  unless  the 
sentiment  is  so  harsh,  intense,  or  violent  that  it  disarranges 
the  vocal  organs.  Purity  of  voice  is  the  result  of  the 
slightest  physical  effort  and  is  accompanied  with  very 
little  friction  in  the  vocal  apparatus. 

The  Normal  Voice 

All  ordinary  sentiment  should  be  expressed  in  .this 
quality.  It  is  used  in  descriptive,  didactic,  and  conver- 
sational sentiment,  and  selections  not  marked  with  any 
great  degree  of  emotion.  It  is  the  quality  most  used 
and  should  be  most  carefully  cultivated.  As  usually 
understood,  it  is  limited  as  to  force  and  resonance.  The 
throat  should  be  open  and  flexible  and  the  words  easily 
and  clearly  projected. 

Examples 

I.  Wasn't  it  pleasant,  0  brother  mine, 
In  those  old  days  of  the  lost  sunshine 
Of  youth — when  the  Saturday's  chores  were  through, 


QUALITY  51 

And  the  Sunday's  wood  in  the  kitchen,  too, 
And  we  went  visiting,  ''  me  and  you," 
Out  to  old  Aunt  Mary's  *? 

It  all  comes  back  so  clear  to-day, 
Though  I  am  as  bald  as  you  are  gray — 
Out  by  the  barn  lot  and  down  the  lane 
We  patter  along  in  the  dust  again, 
As  light  as  the  tips  of  the  drops  of  rain, 
Out  to  old  Aunt  Mary's. 
From  "  Out  to  Old  Aunt  Marifs  " — James  Whitcomh  Riley. 

2.  It  is  the  everlasting  glory  of  Stratford-upon-Avon 
that  it  was  the  birthplace  of  Shakespeare.  Situated  in  the 
heart  of  Warwickshire,  which  has  been  called  the  garden 
of  England,  it  nestles  cozily  in  an  atmosphere  of  tranquil 
loveliness,  and  is  surrounded  with  everything  that  soft 
and  gentle  rural  scenery  can  provide  to  soothe  the  mind 
and  nurture  contentment. 

It  stands  upon  a  plain  almost  in  the  centre  of  an  island, 
through  which,  between  the  low,  green  hills  that  roll  away 
on  either  side,  the  Avon  flows  down  to  the  Severn. — 
From  "  Shakespeare's  England  " —  William  Winter. 

3.  The  spring  was  in  our  valley  now  ;  creeping  first  for 
shelter  shyly  in  the  pause  of  the  blustering  wind.  Then 
the  lambs  came  bleating  to  her,  and  the  orchis  lifted  up, 
and  the  thin,  dead  leaves  of  clover  lay  for  the  new  ones  to 
spring  through.  Then  the  stiffest  things  that  sleep,  the 
stubby  oak  and  the  stunted  beech,  dropped  their  brown 
defiance  to  her,  and  prepared  for  a  soft  reply. — From 
^^Loma  Doone  " — R.  D.  Blackmore. 

4.  I  chatter  over  stony  ways. 

In  little  sharps  and  trebles, 
I  bubble  into  eddying  bays, 
I  babble  on  the  pebbles. 

With  many  a  curve  my  banks  I  fret, 

By  many  a  field  and  fallow. 
And  many  a  fairy  foreland  set 

With  willow-weed  and  mallow. 


62  ADVANCED    ELOCUTION 

I  chatter,  chatter,  as  I  flow 

To  join  the  brimming  river, 
For  men  may  come  and  men  may  go, 

But  I  go  on  forever. 

From  "  The  Brook  " — Tennyson, 

5.  Hamlet.    What  make  you  from  Wittenburg,  Horatio  ? 
Horatio.     A  truant  disposition,  good  my  lord. 
Hamlet.     I  would  not  hear  your  enemy  say  so, 

Nor  shall  you  do  mine  ear  that  violence 
To  make  it  truster  of  your  own  report 
Against  yourself ;  I  know  you  are  no  truant, 
But  what  is  your  affair  in  Elsinore  ? 
We'll  teach  you  to  drink  deep  ere  you  depart. 

Horatio.     My  lord,  I  came  to  see  your  father's  funeral. 

Hamlet.     I  pray  thee  do  not  mock  me  fellow-student ; 
I  think  it  was  to  see  my  mother's  wedding. 

Horatio.     Indeed,  my  lord,  it  followed  hard  upon. 

Hamlet.  Thrift,  thrift,  Horatio !  The  funeral-baked 
meats  did  coldly  furnish  forth  the  marriage  tables. 

From  ''''Hamlet " — Shakespeare. 

6.  Along  the  crowded  path  they  bore  her  now ;  pure  as 
the  newly-fallen  snow  that  covered  it ;  whose  day  on  earth 
had  been  as  fleeting.  Under  the  porch,  where  she  had 
sat,  when  Heaven,  in  its  mercy,  brought  her  to  that 
peaceful  spot,  she  passed  again;  and  the  old  church  re- 
ceived her  in  its  quiet  shade. 

They  carried  her  to  one  old  nook  where  she  had  many 
and  many  a  time  sat  musing,  and  laid  their  burden  softly 
on  the  pavement.  The  light  streamed  in  througli  the  col- 
ored window — a  window  where  the  boughs  of  the  trees 
were  ever  rustling  in  the  summer,  and  where  the  birds 
sang  sweetly  all  day  long.  With  every  breath  of  air  that 
stirred  among  those  branches  in  the  sunshine,  some  trem- 
bling, changing  light  would  fall  upon  her  grave. — From 
"■  Old  Curiosity  Shop  " — Dickens. 

7.  I  am  the  true  vine  and  my  Father  is  the  husband- 
man. Every  branch  in  me  that  beareth  not  fruit  He 
taketh  away ;  and  every  branch  that  beareth  fruit,  He 
purgeth  it,  that  it  may  bring  forth  more  fruit. 


QUALITY  53 

Now  ye  are  clean  through  the  word  which  I  have  spoken 
unto  you.  Abide  in  me  and  I  in  you.  As  the  branch 
cannot  bear  fruit  of  itself,  except  it  abide  in  the  vine ;  no 
more  can  ye,  except  ye  abide  in  me. — From  the  Bible. 

The  Orotund  Voice 

This  is  the  language  df  all  lofty  or  "ennobling  sentiment. 
The  chest  and  head  give  forth  their  resonance.  Promi- 
nence is  also  given  to  the  vowels.  This  tone  is  the  Nor- 
mal enlarged  and  ennobled. 

Examples 

1.  Ye  ice-falls  !  ye  that  from  the  mountain's  brow 
Adown  enormous  ravines  slope  amain — 
Torrents,  methinks,  that  heard  a  mighty  voice, 
And  stopped  at  once  amid  their  maddest  plunge. 
Motionless  torrents  !  Silent  cataracts  ! 
Who  made  you  glorious  as  the  gates  of  heaven 
Beneath  the  keen  full  moon  ?     Who  bade  the   sun 
Clothe  you  with  rainbows  ?    Who  with  living  flowers 
Of  loveliest  blue,  spread  garlands  at  your  feet  ? 

"  God !"     Let  the  torrents,  like  a  shout  of  nations, 

Answer!  and  let  the  ice-plain  echo,  "  God !" 

"  God  !"  sing  ye  meadow  streams  with  gladsome  voice ! 

Ye  pine  groves,  with  your  soft  and  soul-like  sounds ! 

And  they,  too,  have  a  voice,  yon  piles  of  snow. 

And  in  their  perilous  fall  shall  thunder,  "  God !" 

Ye  living  flowers  that  skirt  the  eternal  frost ! 
Ye  wild  goats  sporting  round  the  eagle's  nest! 
Ye  eagles,  playmates  of  the  mountain  storm ! 
Ye  lightnings,  the  dread  arrows  of  the  clouds ! 
Ye  signs  and  wonders  of  the  elements  ! 
Utter  forth  "  God !"  and  fill  the  hills  with  praise ! 

From  "  Mont  Blanc  Before  Sunrise  " — Coleridge. 

2.  The  notes  of  the  deei)-laboring  organ  burst  upon  the 
ear.     How  well  does  their  volume  accord  with  this  mighty 


54  ADVANCED    ELOCUTION 

building!  With  what  pomp  do  they  swell  through  its 
vast  vaults,  and  breathe  their  awful  harmony  through 
these  caves  of  death,  and  make  the  silent  sepulchre  vocal ! 

And  now  they  rise  in  triumph  and  acclamation,  heaving 
higher  and  higher  their  accordant  notes,  and  piling  sound 
on  sound.  And  now  they  pause,  and  the  soft  voices  of  the 
choir  break  out  into  sweet  gushes  of  melody.  They  soar 
aloft,  and  seem  to  plky  about  these  lofty  vaults  like  the 
pure  airs  of  heaven. 

Again  the  pealing  organ  heaves  its  thrilling  thunders, 
compressing  air  into  music,  and  rolling  it  forth  upon  the 
soul.  What  long-drawn  cadences !  What  solemn,  sweep- 
ing concords !  It  grows  more  and  more  dense  and  power- 
ful— the  ear  is  stunned — the  senses  are  overwhelmed,  and 
now  it  is  winding  up  in  full  jubilee — it  is  rising  from 
earth  to  heaven — the  very  soul  seems  rapt  away  and 
floated  upwards  on  the  swelling  tide  of  harmony. — From 
"  Westminster  Abbey  " —  Washington  Irving, 

3.  The  nation  rises  up  at  every  stage  of  his  coming; 
cities  and  States  are  his  pallbearers,  and  the  cannon 
beats  the  hours  in  solemn  progression ;  dead,  dead,  dead, 
he  yet  speaketh.  Is  Washington  dead?  Is  Hampden 
dead?  Is  David  dead?  Is  any  man  that  was  ever  fit  to 
live  dead?  Disenthralled  from  flesh,  and  risen  in  the 
unobstructed  sphere  where  passion  never  comes,  he  begins 
his  illimitable  work 

Your  sorrows,  O  people,  are  his  peace ;  your  bells  and 
bands  and  muffled  drums  sound  triumph  in  his  ear — wail 
and  weep  here — pass  on !  Ye  winds,  that  move  over  the 
mighty  places  of  the  West,  chant  his  requiem  !  Ye  peo- 
ple, behold  a  martyr,  whose  blood,  as  so  many  articulate 
words,  pleads  for  fidelity,  for  law,  for  liberty. — From 
"  Funeral  Oration  on  Abraham  Lincoln  " — H.  W.  Beecher. 

4.  The  soldiers  stepped  from  the  trenches  into  the  fur- 
rows;  horses  that  had  charged  Federal  guns  marched 
before  the  plow,  and  fields  that  ran  red  with  human 
blood    in    April    were  green  with  the  harvest   in   June. 

From  the  ashes  left  us  in  1864  we  have 

raised  a  brave  and  beautiful  city  ;  that  somehow  or  other 
we  have  caught  the  sunshine  in  the  bricks  and  mortar  of 


QUALITY  55 

our  homes,  and  have  builded  therein  not  one  ignoble 
prejudice  or  memory 

As  she  stands  upright,  full-statured  and  equal  among  the 
people  of  the  earth,  breathing  the  keen  air  and  looking  out 
upon  the  expanded  horizon,  she  understands  that  her 
emancipation  came  because  through  the  inscrutable  wis- 
dom of  God  her  honest  purpose  was  crossed,  and  her 
brave  armies  were  beaten 

In  my  native  town  of  Athens  is  a  monument  that 
crowns  its  central  hill — a  plain,  white  shaft.  Deep  cut  into 
its  shining  side  is  a  name  dear  to  me  above  the  names  of 
men,  that  of  a  brave  and  simple  man  who  died  in  brave 
and  simple  faith.  Not  for  all  the  glories  of  New  Eng- 
land, from  Plymouth  Rock  all  the  way,  would  I  exchange 
the  heritage  he  left  me  in  his  soldier's  death 

But,  sir,  speaking  from  the  shadow  of  that  memory, 
which  I  honor  as  I  do  nothing  else  on  earth,  I  say  that 
the  cause  in  which  he  suffered  and  for  which  he  gave  his 
life  was  adjudged  by  higher  and  fuller  wisdom  than  his  or 
mine,  and  I  am  glad  that  the  omniscient  God  held  the 
balance  of  battle  in  His  Almighty  hand,  and  that  the 
American  Union  was  saved  from  the  wreck  of  war. 

From  "  The  New  South  " — Henry  W.  Grady. 

5.  The  heavens  declare  the  glory  of  God ;  and  the  firma- 
ment showeth  His  handywork.  Day  unto  day  uttereth 
speech,  and  night  unto  night  showeth  knowledge.  There 
is  no  speech  nor  language,  where  their  voice  is  not  heard. 
Their  line  is  gone  out  through  all  the  earth,  and  their 
words  to  the  end  of  the  world.  In  them  hath  He  set  a  tab- 
ernacle for  the  sun,  which  is  as  a  bridegroom  coming  out  of 
his  chamber,  and  rejoiceth  as  a  strong  man  to  run  a  race. 

His  going  forth  is  from  the  end  of  the  heaven,  and  his 
circuit  unto  the  ends  of  it :  and  there  is  nothing  hid  from 
the  heat  thereof.  The  law  of  the  Lord  is  perfect,  convert- 
ing the  soul :  the  testimony  of  the  Lord  is  sure,  making 
wise  the  simple.  The  statutes  of  the  Lord  are  right,  re- 
joicing the  heart:  the  commandment  of  the  Lord  is 
pure,  enlightening  the  eyes.  The  fear  of  the  Lord  is  clean, 
enduring  forever :  the  judgments  of  the  Lord  are  true 
and  righteous  altogether. 

More  to  be  desired  are  they  than  gold,  yea,  than  much 
fine  gold :  sweeter  also  than  honey  and  the  honeycomb. 


56  ADVANCED    ELOCUTION 

Moreover  by  them  is  thy  servant  warned  :  and  in  keeping 
of  them  there  is  great  reward.  Who  can  understand  his 
errors  ?  Cleanse  thou  me  from  secret  faults.  Keep 
back  thy  servant  also  from  presumptuous  sins  ;  let  them 
not  have  dominion  over  me :  then  shall  I  be  upright,  and 
I  shall  be  innocent  from  the  great  transgression.  Let  the 
words  of  my  mouth,  and  the  meditation  of  my  heart,  be 
acceptable  in  thy  sight,  0  Lord,  my  strength,  and  my  re- 
deemer.— The  "  Nineteenth  Psalm  " — Bible. 

The  Pectoral  Voice 

It  is  doubtful  whether  a  strictly  scientific  analysis  would 
allow  this  form  of  voice  as  a  distinct  quality.  It  seems  to 
be  simply  a  very  low  voice,  usually  having  greater  time, 
with  a  tendency  to  run  into  minors. 

It  is  used  in  very  solemn,  weird,  awful,  and  supernatural 
passages.  The  lar3mx  is  dropped  as  much  as  possible, 
the  glottis  open,  and  the  resonance  is  in  the  lower  chest 
region.  It  should  not  be  practiced  to  the  exclusion  of  the 
more  natural  ranges,  as  it  is  less  used  than  either  the 
Normal  or  the  Orotund. 

Examples 

1.  Hamlet.     Angels  and  ministers  of  grace  defend  us ! 

Be  thou  spirit  of  health  or  goblin  damn'd. 

Bring  with  thee  airs  from  heaven  or  blasts  from  hell, 

Be  thy  intents  wicked  or  charitable, 

Thou  comest  in  such  a  questional )le  shape 

That  I  will  speak  to  thee :  I'll  call  thee  Hamlet, 

King,  father  ;  royal  Dane,  O,  answer  me  ! 

From  ''^Hamlet " — Shakespeare. 

2.   Ghost.     I  am  thy  father's  spirit. 
Doomed  for  a  certain  term  to  walk  the  night, 
And  for  the  day  confined  to  fast  in  fires, 
Till  the  foul  crimes  done  in  my  days  of  nature 
Are  burned  and  purged  away.     But  that  I  am  forbid 
To  tell  the  secrets  of  my  prison  house, 
I  could  a  tale  unfold  whose  lightest  word 
Would  harrow  up  thy  soul. — Ibid. 


QUALITY  67 

3.  Lady  Macbeth.     Yet  here's  a  spot. 

Out  damned  spot !     Out,  I  say ! 

One,  two ;  why,  then  'tis  time  to  do't. — Fie,  my  lord, 
fie ;  a  soldier,  and  afeard  ?  What  need  we  fear  who  knows 
it,  when  none  can  call  our  power  to  account  ?  Yet  who 
would  have  thought  the  old  man  to  have  had  so  much 
blood  in  him  ?  .  .  .  What,  will  these  hands  ne'er  be 
clean  ?  No  more  o'  that,  my  lord,  no  more  o'  that :  you 
mar  all  with  this  starting.     .  .  . 

Here's  the  smell  of  blood  still:  all  the  perfumes  of 
Arabia  will  not  sweeten  this  little  hand.  Oh  !  oh  !  oh  !  .  .  . 
To  bed,  to  bed ;  there's  knocking  at  the  gate  :  come,  come, 
come,  come,  give  me  your  hand ;  what's  done,  cannot  be 
undone  ;  to  bed,  to  bed,  to  bed. — From  "  Macbeth " — 
Shakespeare. 

4.  0,  I  have  pass'd  a  miserable  night, 
So  full  of  fearful  dreams,  of  ugly  sights, 
That,  as  I  am  a  Christian  faithful  man, 
I  would  not  spend  another  such  a  night, 
Though  'twere  to  buy  a  world  of  happy  days ; 
So  full  of  dismal  terror  was  the  time ! 

Methought  that  I  had  broken  from  the  tower, 
And  was  embark'd  to  cross  to  Burgundy ; 
And,  in  my  company,  my  brother  Gloster, 
Who  from  my  cabin  tempted  me  to  walk 
Upon  the  hatches ;  thence  we  look'd  toward  England 
And  cited  up  a  thousand  heavy  times. 
During  the  wars  of  York  and  Lancaster, 
That  had  befallen  us.     As  we  pac'd  along 
Upon  the  giddy  footing  of  the  hatches, 
Methought  Gloster  stum])led  ;  and  in  falling 
Struck  me,  that  sought  to  stay  him,  overboard 
Into  the  tumbling  billows  of  the  main. 

0,  then  methought  what  pain  it  was  to  drown  I 
What  dreadful  noise  of  water  in  mine  ears  ! 
What  sights  of  ugly  death  within  mine  eyes  I 
Methought  I  saw  a  thousand  fearful  wrecks ; 
A  thousand  men  that  fishes  gnaw'd  upon ; 
W^edges  of  gold,  great  anchors,  heaps  of  pearl, 


58  ADVANCED   ELOCUTION 

Inestimable  stones,  unvalu'cl  jewels, 

All  scatter'd  in  the  bottom  of  the  sea  : 

Some  lay  in  dead  men's  skulls  :  and  in  those  holes 

Where  eyes  did  once  inhabit,  there  were  crept 

(As  'twere  in  scorn  of  eyes)  reflecting  gems, 

That  woo'd  the  slimy  bottom  of  the  deep. 

And  raock'd  the  dead  bones  that  lay  scattered  by. 

From  "  Richard  III " — Shakespeare. 

The  Tremolo  Voice 

This  quality  is  the  result  of  intermittent  impulses.  The 
flow  of  the  voice  is  broken.  The  vowels,  instead  of  being 
uttered  smoothly,  are  made  up  of  a  succession  of  im- 
pulses.    Any  overpowering  emotion  results  in  tremor. 

Great  joy,  sorrow,  anger,  and  fear  take  the  tremolo.  In 
all  intense  emotions,  even  at  times  in  argument,  this 
quality  is  suggested. 

In  the  exercises  appended,  not  all  the  words  should  be 
strongly  marked  with  tremolo.  This  is  left  to  the  discre- 
tion of  the  student  or  teacher. 

1.  0,  father  abbot. 

An  old  man,  broken  with  the  storms  of  state, 
Is  come  to  lay  his  weary  bones  among  ye : 
Give  him  a  little  earth  for  charity ! 

From  "  Henry  VIII ^^ — Shakespeare, 

2.  Queen.     0  Hamlet !  speak  no  more. 
Thou  turn'st  mine  eyes  into  my  very  soul, 
And  there  I  see  such  black  and  grained  spots 
As  will  not  leave  their  tinct.   .  .  . 

Oh  !  speak  to  me  no  more ; 
These  words  like  daggers  enter  in  mine  ears ; 
No  more,  sweet  Hamlet ! 

Hamlet.     A  murtherer  and  a  villain ; 
A  slave  that  is  not  twentieth  part  the  tithe 
Of  your  precedent  lord  ;  a  Vice  of  kings  ;     . 
A  cutpurse  of  the  empire  and  the  rule. 
That  from  the  shelf  the  precious  diadem  stole 
And  put  it  in  his  pocket. 


QUALITY  69 

Queen.  No  more ! 

Hamlet.     A  king  of  shreds  and  patches — 

Enter  Ghost. 
Save  me  and  hover  o'er  me  with  your  wings, 
You  heavenly  guards  !     What  would  your  gracious  figure  ? 

Queen.     Alas  !  he's  mad  ! 

Hamlet.     Do  you  not  come  your  tardy  son  to  chide 
That,  laps'd  in  time  and  passion,  lets  go  by 
The  important  acting  of  your  dread  command  ? 
Oh  !  say  ! — From  ^^  Hamlet  " — Shakespeare. 

3.  "  Jove  with  us  !  Jove  with  us  !"  yelled  all  the  Roman 
faction  in  a  frenzy  of  delight^' Messala !  Messala!  Jove 
with  us  !" — From  "  Ben-Hur  " — Lew  Wallace. 

4.  Cassim.  0  ye  gods !  ye  gods !  Must  I  endure  all  this  ? 

From  "  Julius  Cmsar  " — Shakespeare. 

IMPURE  VOICE 
As  already  mentioned  five  types  or  qualities  of  voice 
are   classed   as  impure,  viz. :    Aspirate,   Guttural,  Nasal, 
Falsetto,  and  Oral,  descriptions  of  which  follow  : 

The  Aspirate  Voice 

This  quality  is  produced  by  an  admixture  of  breath 
and  vocalization.  A  greater  quantity  of  breath  is  used 
than  is  necessary  to  produce  the  tone  required.  It  is  part 
whisper  and  part  vocal  sound.  There  may  be  all  grades 
between  a  whisper  and  vocalization. 

It  is  used  in  secrecy  and  great  awe,  and  is  often  used  in 
conjunction  with  the  Pectoral. 

Examples 

1.  Lady  Macbeth.     Alack,  I  am  afraid  they  have  awak'd, 
And  'tis  not  done.     The  attempt  and  not  the  deed 
Confounds^s — Hark  !  I  laid  their  daggers  ready ; 
He  could  not  miss  them — Had  he  not  resembled 
My  father  as  he  slept,  I  had  done't. 

From  ''  Macbeth  " — Shakespeare. 


60  ADVANCED    ELOCUTION 

2.  Lady  Macbeth.     I  hear  a  knocking ; 

Get  on  your  night-gown,  lest  occasion  call  us, 
And  show  us  to  be  watchers  : — be  not  lost 
So  poorly  in  your  thoughts. — Ibid. 

3.  Macbeth.     Avaunt !  and  quit  my  sight !  Let  the  earth 

hide  thee ! 
Tliy  bones  are  marrowless,  thy  blood  is  cold ! 
Thou  hast  no  speculation  in  thine  eyes 
Which  thou  dost  glare  with  ! — Ibid, 

4.  Steady,  boys,  steady  ! 
Keep  your  arms  ready, 

God  only  knows  whom  we  may  meet  here, 

Don't  let  me  be  taken — 

'I'd  rather  awaken 

To-morrow  in — no  matter  where, 

Than  lie  in  that  foul  prison  hole  over  there. 

From  "  The  Wounded  Soldier  " — Anon. 

5.  "  If  we'd  of  gone  three  hundred  yards  further,"  he 
whispered,  falling  back  and  smiling  broadly,  "  we'd  a  run 
into  the  pickets.  I  went  nigh  enough  to  see  the  videttes 
settin'  on  their  bosses  in  the  main  road.  This  here  ain't 
no  road.     I've  got  one  of  the  men  to  show  us  the  way." 

"  Where  is  he?"  whispered  Mary. — Frmn  "  Dr.  Sevier  " — 
Geo.  W.  Cable. 

The  Guttural  Voice 
This  quality  is  the  result  of  contraction  of  the  muscles 
of  the  throat  above  the  larynx.  The  passage  is  partly 
closed  and  the  breath  forced  through  it,  making  a  rasping 
sound.  It  should  be  avoided  except  in  impersonation. 
Speakers  unconsciously  using  this  quality  often  have 
throat  trouble  as  a  result.  It  is  the  language  of  harshness, 
hatred,  and  violence,  and  must  injure  the  vocal  organs  if 
long  indulged  in.  The  muscles  of  the  throat  contract  just 
as  the  muscles  of  the  hand  and  body,  and  tltus  this  voice 
is  in  keeping  with  the  involuntary  action  of  the  body 
when  the  mind  is  filled  with  hatred  or  revenge. 


QUALITY  61 

Examples 

1.  Gloster.     Stay  you  that   bear   the  corse  and  set   it 

down. 
Anne.     What  black  magician  conjures  up  this  fiend, 
To  stop  devoted  charitable  deeds? 

Gloster.     Villains,  set  down  the  corse ;  or  by  Saint  Paul, 
['11  make  a  corse  of  him  that  disobeys ! 

Gentleman.     My   lord,  stand   back   and  let  the  cofRn 

pass. 
Gloster.     Unmannered  dog!   stand  thou  when  I  com- 
mand : 
Advance  thy  halberd  higher  than  my  breast, 
Or,  by  Saint  Paul,  I'll  strike  thee  to  my  foot. 
And  spurn  thee  beggar,  for  thy  boldness. 

From  "  Richard  III " — Shakespeare. 


2.  Shyloch.     Signior  Antonio,  many  a  time  and  oft 
In  the  Rialto,  you  have  rated  me 
About  my  monies  and  my  usances : 
Still  have  I  borne  it  with  a  patient  shrug ; 
For  suff 'ranee  is  the  badge  of  all  our  tribe. 
You  call  me  "  misbeliever,"  "  cut-throat  dog," 
And  spet  on  my  Jewish  gaberdine. 
And  all  for  use  of  that  which  is  mine  own. 
Well,  then,  it  now  appears  you  need  my  help ; 
Go  to,  then ;  you  come  to  me  and  say, 
"  Shylock,  we  would  have  monies :" — you  say  so ; 
You,  that  did  void  your  rheum  on  my  beard 
And  foot  me,  as  you  spurn  a  stranger  cur 
Over  your  threshold  :  monies  is  your  suit. 
What  should  I  say  to  you  ?     Should  I  not  say, 
"  Hath  a  dog  money  ?     Is  it  possible 
A  cur  can  lend  three  thousand  ducats  ?"     Or 
Shall  I  bend  low,  and  in  a  bondsman's  key. 
With  'bated  breath,  and  whispering  humbleness. 
Say  this, — "  Fair  sir,  you  spet  on  me  on  Wednesday  last 
You  spurned,  me  such  a  day ;  another  time 
You  call'd  me  dog ;  and  for  these  courtesies 
I'll  lend  you  thus  much  monies." 

From  "  Merchant  of  Venice  " — Shakespeare. 


62  ADVANCED    ELOCUTION 

3.  Lear.     Blow,  winds,  and  crack  your  cheeks!   rage! 

blow! 
You  cataracts  and  hurricanes  spout 
Till  you  have  drench 'd  our  steeples,  drown'd  the  cocks ! 
You  sulphurous  and  thought-executing  fires, 
Vaunt  couriers  of  oak-cleaving  thunderbolts. 
Singe  my  white  head !  and  thou,  all-shaking  thunder, 
Strike  flat  the  thick  rotundity  o'  the  world  ; 
Crack  nature's  molds,  all  germins  spill  at  once. 
That  make  ingrateful  man. 

From  "  King  Lear  " — Shakespeare. 

4.  May  you  wander  as  I  wander,  suffer  shame  as  I  now 
suffer  it !  Cursed  be  the  land  you  till ;  may  it  keep  faith 
with  you,  as  you  have  kept  faith  with  me !  Cursed  be 
thy  children  !  May  they  wither  as  my  young  heart  has 
withered !  Cursed,  thrice  cursed  may  you  be  evermore ! 
And  as  my  people  on  Mount  Ebal  spoke,  so  speak  I  thrice. 
Amen !  Amen !  Amen ! — From  ^^Leah  the  Forsaken  " — Daly. 

The    Nasal  Voice 

In  every  well-regulated  voice  the  sound  waves  escape 
from  both  the  mouth  and  nose,  and  their  union  forms 
what  we  term  voice.  Dr.  Makenzie  says  that  every  well- 
regulated  voice  is  in  reality  a  whole  choir  of  sounds.  The 
initial  sound  is  produced  by  the  vibration  of  the  vocal 
chords,  the  chest  takes  this  up  and  returns  it ;  the  cavities 
of  the  mouth,  head,  and  nose  send  forth  their  resonance, 
and  these  harmoniously  joined  make  the  agreeable 
voice. 

Often  the  sound  is  projected  almost  entirely  through  the 
nasal  passages.  On  the  other  hand,  many,  because  the  head 
cavities  are  stopped  by  cold,  or  because  of  permanent  dis- 
use, speak  entirely  through  the  mouth,  excluding  the 
head  and  nasal  resonance.  This,  also,  results  in  what  is 
usually  termed  nasality. 

A  Nasal  tone  is  one,  then,  where  the  head  and  nasal 
passages  are  used,  either  too  much  or  too  little. 


QUALITY  63 

This  tone  should  be  practiced  little  and  only  to  acquire 
proper  balance  between  the  head  and  chest  resonance.  It 
should  be  used  only  in  impersonation. 

Examples 

1.  "  The  birds  can  fly,  an'  why  can't  I  ? 

Must  we  give  in,"  says  he,  with  a  grin, 
"  That  the  bluebird  an'  phoebe  are  sniarter'n  we  oe  ? 
Jest  fold  our  hands,  an'  see  the  swaller, 
An'  blackbird  an'  catbird  beat  us  holler  ?" 
From  "  Darius  Green  and  His  Flying  Machine  " — Trow- 
bridge. 

2.  Dogberry.     Come  hither,  neighbor  Seacoal. 

God  hath  blessed  you  with  a  good  name ;  to  be  a  well- 
favored  man  is  the  gift  of  fortune ;  but  to  write  and  read 
comes  by  nature.  .  .  . 

You  are  thought  here  to  be  the  most  senseless  and  fit 
man  for  the  constable  of  the  watch ;  therefore  bear  you 
the  lantern,  you  are  to  bid  any  man  stand,  in  the  prince's 
name. 

Seacoal.     How  if  he  will  not  stand  ? 

Dogberry.  Why,  then,  take  no  note  of  him,  but  let  him 
go ;  and  presently  call  the  rest  of  the  watch  together,  and 
thank  God  you  are  rid  of  a  knave. 

From  ^^Much  Ado  About  Nothing  " — Shakespeare. 

3.  Old  man  never  had  much  to  say — 'ceptin'  to  Jim — 
And  Jim  was  the  wildest  boy  he  had — 
And  the  old  man  jes'  wrapped  up  in  him ! 
Never  heerd  him  speak  but  once 
Er  twice  in  my  life — and  the  first  time  was 
When  the  army  broke  out,  and  Jim  he  went, 
The  old  man  backin'  him  fer  three  months. 
And  all  'at  I  heerd  the  old  man  say 
Was,  jes'  as  we  turned  to  start  away — 
Well ;  good-bye,  Jim  ; 
Take  keer  of  yourse'f. 
Fh'om  "  The  Old  Man  and  Jim  " — James  Whitcomb  Riley, 


64  ADVANCED    ELOCUTION 


The  Falsetto  Voice 


This  quality  is  mentioned  chiefly  that  it  may  be  avoided. 
It  may  be  produced  by  man  imitating  the  voice  of  woman. 
It  is  the  product  of  the  head  register.  Usually  the  vocal 
bands  vibrate  their  entire  length,  but  in  ascending  the  vocal 
scale  a  point  is  reached  where  the  vocal  mechanism 
changes ;  above  this  is  the  Falsetto  Voice.  The  vocal  bands 
are  drawn  so  closely  together  that  at  the  ends  they  overlap 
and  thus  the  length  of  vibrating  element  is  shorter,  hence 
a  higher  note. 

This  may  be  used  by  men  imitating  the  voices  of  women 
and  children.  (But  taste  usually  requires  that  these 
should  be  merely  suggested,  without  the  use  of  the  fal- 
setto.) It  is  frequently  heard  in  a  scream,  loud  cries,  and 
calling ;  also  at  times  in  representing  animal  cries. 

It  is  frequently  heard  in  street  cries,  as  : 

ries ! 
feesh!  her-  cream  I 

Cat-  Straw-  Ice- 

Also  in  calling,  as : 

lie  !  Oh !  Char- 

Char-  lie  ! 

over  I  ferry  ! 

Hie  you  man  of  the 

In  imitating  the  moaning  of  the  wind  the  voice  runs 
from  chest  tones  to  falsetto  and  back  again. 

The  Oral  Voice 

This  is  produced  by  weakness  or  senility.  It  is  a  thin, 
weak  voice,  resembling  the  sound  of  a  whistle  when 
there  is  not  a  sufficient  volume  of  steam.  Mental  or 
physical  suffering,  insanity,  and  complaining  are  often 
expressed  in  this  quality. 


TIME  65 

Examples 

1.  Hamlet     0,  I  die,  Horatio  ! 
The  potent  poison  quite  o'er-crows  my  spirit ; 
I  cannot  live  to  hear  the  news  from  England ; 
But  I  do  prophesy  the  election  lights 
On  Fortinbras  ;  he  has  my  dying  voice ; 
So  tell  him,  with  the  occurrents,  more  and  less, 
Which  have  solicited — The  rest  is  silence. — 

From  "  Hamlet " — Shakespeare. 

9.  Jo.  It's  turned  wery  dark,  sir.  Is  there  any  light  a 
comin'  ? 

Mr.  Woodcourt.     It  is  coming  fast,  Jo. 

Jo.  I  hear  you,  sir,  in  the  dark,  but  I'm  a  gropin' — a 
gropin' — let  me  catch  hold  of  your  hand. — From  "  Death 
of  Little  Jo  " — Dickens. 

3.  Adam.  Dear  Master,  I  can  go  no  further !  O  I  die 
for  food  !  Here  lie  I  down,  and  measure  out  my  grave. 
Farewell,  kind  master. — From  ^^ As  You  Like  It^^ — Shake- 
speare. 

4.  "  Look !"  she  said,  "  I  see  my  father 

Standing  lonely  at  his  doorway. 
Beckoning  to  me  from  his  wigAvam 
In  the  land  of  the  Dacotahs." 

From  "  Hiawatha  " — Longfellow. 


TIME 

"  Now  fast,  now  slow, 
The  south  winds  blow."— Ellsworth. 

He  who  masters  all  the  other  principles  of  expression, 
but  neglects  this,  will  be  monotonous  and  dull  in  his  de- 
livery. 

Intelligent  variety  is  the  soul  of  expression,  and  much 
of  the  monotony  of  speech  is  broken  up  by  proper  varia- 
6 


66  ADVANCED    ELOCUTION 

tions  of  time.  In  conversation  we  speak,  now  rapidly  and 
now  with  more  deliberation.  One  sentence  comes  to  the 
mind  in  a  flash,  and  is  given  to  the  hearer  in  its  molten  state ; 
another  must  be  wrought  out  before  or  during  delivery. 

In  excitement  the  voice  is  not  only  higher  in  pitch,  but 
usually  more  rapid  in  movement  also,  while  in  grave  and 
speculative  passages  the  voice  drops,  and  more  time  is 
given  to  the  utterance. 

There  is  a  close  relation  between  Time  and  Pitch.  When 
the  mind  is  accelerated  the  ideas  form  more  rapidly,  and 
hence  the  words  which  express  them  follow  each  other  at 
shorter  intervals.  But  this  tense  mental  condition  acts 
upon  the  vocal  organs  in  another  way ;  it  tensions  all  the 
muscles  which  control  voice,  and  hence  a  higher  pitch  is 
produced. 

Life  and  vitality  mean  increased  muscular  action,  which 
results  in  rapid  utterance  and  higher  pitch. 

At  times,  however,  when  excited,  the  voice  may  be  low 
and  the  time  slow.  This  happens  when  the  natural  ex- 
pression is  controlled,  which  control,  as  already  explained, 
is,  on  certain  occasions,  very  eff"ective. 

In  some  selections  the  utterance  should  be  rapid 
throughout,  while  in  others  it  should  vary  in  time  from 
sentence  to  sentence  or  from  clause  to  clause.  This 
principle  should  be  observed  in  the  following  extracts : 

Examples 

1.  On  Monday,  the  14th  of  October,  1793,  a  cause  was 
pending  in  the  Hall  of  Justice  in  the  new  Revolutionary 
Court,  such  as  those  old  stone  walls  never  before  wit- 
nessed— the  trial  of  Marie  Antoinette.  The  once  bright- 
est of  queens,  now  tarnished,  defaced,  forsaken,  stands 
here  at  the  judgment  bar,  answering  for  her  life.  The  in- 
dictment was  delivered  her  last  night.  To  such  changes 
of  human  fortune,  what  words  are  adequate? — From 
"  Execution  of  Marie  Antoinette  " — Thomas  Carlyle. 


TIME  67 

2.  To  them  his  heart,  his  love,  his  griefs  were  given, 
But  all  his  serious  thoughts  had  rest  in  heaven. 

As  some  tall  cliff  that  lifts  its  awful  form, 
Swells  from  the  vale,  and  midway  leaves  the  storm ; 
Though  round  its  breast  the  rolling  clouds  are  spread, 
Eternal  sunshine  settles  on  its  head. 

From  ^'The  Deserted  Village^'' — Goldsmith. 

3.  Marley  was  dead,  to  begin  with.  There  is  no  doubt 
whatever  about  that.  The  register  of  his  burial  Avas 
signed  by  the  clergyman,  the  clerk,  the  undertaker,  and 
the  chief  mourner.  Scrooge  signed  it.  And  Scrooge's 
name  was  good  upon  'Change  for  anything  he  chose  to 
put  his  hand  to.  Old  Marley  was  as  dead  as  a  door -nail. 
— From  ^''The  Christmas  Carol  " — Dickens. 

4.  There's  a  dance  of  leaves  in  the  aspen  bower. 
There's  a  twitter  of  winds  in  the  beechen  tree. 

There's  a  smile  on  the  fruit  and  a  smile  on  the  flower ; 
And  a  laugh  from  the  brook  that  runs  to  the  sea ! 

Bryant. 

5.  Citizens.     Come,  away,  away ! 
We'll  burn  his  body  in  the  holy  place. 
And  with  the  brands  fire  the  traitors'  houses. 
Take  up  the  body.     Go  fetch  fire. 
Pluck  down  benches.     Pluck  down  forms, 
Windows,  anything. 

From  "  Julius  Cxsar  " — Shakespeare. 

6.  Pindarus.     Fly  further  off,  my  lord,  fly  further  off! 
Mark  Antony  is  in  your  tents,  my  lord ! 

Fly,  therefore,  noble  Cassius,  fly  far  off  ! 

Cassius.     Titinius,  if  thou  lovs't  me. 
Mount  thou  my  horse  and  hide  thy  spurs  in  him. 
Till  he  have  brought  thee  up  to  yonder  troops 
And  here  again,  that  I  may  rest  assur'd 
Whether  yon  troops  are  friend  or  enemy. — Ibid. 

7.  Desaix  fell  at  the  first  volley,  but  the  line  never 
faltered,  and  as  the  smoke  cleared  away  the  gamin  was 
seen  in  front  of  his  line  marching  right  on,  and  still  beat- 


68  ADVANCED    ELOCUTION 

ing  the  furious  charge,  over  the  dead  and  wounded,  over 
breastworks  and  fallen  foe,  over  cannon  belching  forth 
their  fire  of  death,  he  led  the  way  to  the  victory. — Frcmi 
"  The  Victor  of  Marengo  " — Anon. 

8.  On  deck  beneath  the  awning,  I  dozing  lay  and  yawning ; 

It  was  the  gray  of  dawning,  ere  yet  the  sun  arose  ; 
And  above  the  funnel's  roaring,  and  the  fitful  winds  de- 
ploring, 
I  heard  the  cabin  snoring  with  universal  nose. 
I  could  hear  the  passengers  snorting — I  envied  their  dis- 
porting. 
Vainly  I  was  courting  tlie  pleasures  of  a  doze ! 

So  I   lay   and   wondered  why  light   came  not,  and 
watched  the  twilight, 
And  the  glimmer  of  the  skylight,  that  shot  across  the  deck  ; 
And  the  binnacle,  pale  and  steady,  and  the  dull  glimpse  of 

the  dead-eye, 
And   the   sparks   in   fiery   eddy   that  whirled  from    the 

chinmey-neck. 
In  our  jovial  floating  prison  there  was  sleep  from  fore 

to  mizzen. 
And  never  a  star  had  risen  the  hazy  sky  to  speck. 


And  so  the  hours  kept  tolling,  and  through  the  ocean 
rolling 

Went  brave  Iberia  bowling  before  the  break  of  day — 

When  a  squall  upon  a  sudden,  came  o'er  the  waters  scud- 
ding ; 

And  the  clouds  began  to  gather,  and  the  sea  was  lashed  to 
lather. 

And  the  lowering  thunder  grumbled,  and  the  lightning 
jumped  and  tumbled, 

And  the  ship  and  all  the  ocean  woke  up  in  wild  com- 
motion. 

Then  the  wind  set  up  a  howling,  and  the  poodle-dog  a 
yowling, 

And  the  cocks  began  a  crowing,  and  the  old  cow  raised  a 
lowing. 

As  she  heard  the  tempest  blowing ;  and  the  fowls  and 
geese  did  cackle, 


TIME  69 

And  the  cordage  and  the  tackle  began  to  shriek  and  crackle ; 

^  ^  ^  ^  If;  jjc 

And  the  captain  he  was  bawling,  and  the  sailors  pulling, 
hauling,  [squalling. 

And   the  quarter-deck  tarpauling   was   shivered   in    the 
And  the  passengers  awaken,  most  pitifully  shaken. 

From  "  The  White  Squall " — Thackeray. 

9.  Not  a  drum  was  heard — not  a  funeral  note. 
As  his  corse  to  the  rampart  we  hurried  ; 
Not  a  soldier  discharged  his  farewell  shot. 
O'er  the  grave  where  our  hero  we  buried. 

Slowly  and  sadly  we  laid  him  down. 

From  the  field  of  his  fame  fresh  and  gory ; 

We  carved  not  a  line,  and  we  raised  not  a  stone 
But  left  him  alone  with  his  glory. 

From  "  Burial  of  Sir  John  Moore  " — Wolfe. 

10.  The  pall  was  settled.     He  who  slept  beneath 
Was  straightened  for  the  grave  ;  and  as  the  folds 
Sank  to  the  still  proportions,  they  betrayed 
The  matchless  symmetry  of  Absalom. 
His  helm  was  at  his  feet ;  his  banner,  soiled 
With  trailing  through  Jerusalem,  was  laid 
Reversed  beside  him. 

The  soldiers  of  the  king  trod  to  and  fro, 
Clad  in  the  garb  of  battle ;  and  their  chief, 
The  mighty  Joab,  stood  beside  the  bier. 
And  gazed  upon  tiie  dark  pall  steadfastly, 
As  if  he  feared  the  slumberer  might  stir. 
— A  slow  step  startled  him  !     He  grasped  his  blade 
As  if  a  trumpet  rang ;  but  the  bent  form 
Of  David  entered — and  he  gave  command. 
In  a  low  tone,  to  his  few  followers. 
Who  left  him  with  his  dead. 

The  king  stood  still 
Till  the  last  echo  died :  then,  throwing  off 
The  sackcloth  from  his  brow,  and  laying  back 
The  pall  from  the  still  features  of  his  child. 
He  bowed  his  head  upon  him,  and  broke  forth 
In  the  resistless  eloquence  of  woe. 

From  '^ David's  Lament  for  Absalom  ^^ — N.  P.  Willis. 


70  ADVANCED   ELOCUTION 


PITCH 

And  still  with  a  voice  of  dolorous  pitch, 
Would  that  its  tone  could  reach  the  rich, 
She  sang  this  "Song  of  the  Shirt."— Hood. 

Pitch  is  an  exceedingly  important  factor  in  expres- 
sion. While  it  is  not  marked  in  accordance  with  the 
scale,  as  in  music,  yet  its  use  is  governed  by  the  same 
general  laws. 

High  notes  and  rapidity  of  utterance  are  the  language 
of  action  and  acceleration  of  movement.  Increased  activ- 
ity produces  a  greater  number  of  vibrations,  resulting  in 
a  higher  pitch.  When  the  mind  is  active  or  excited,  the 
nerves  strung  and  the  muscles  tensioned,  the  organs  which 
produce  voice  are  in  sympathy  with  the  mental  and 
physical  state,  and  the  result  is  higher  pitch. 

A  low  pitch  is  the  result  of  mental  or  physical  depres- 
sion. Despondency,  awe,  and  reverence  affect  men  from 
the  mental  nature  down  through  the  outward  manifesta- 
tions in  voice  and  action. 

Pitch,  from  the  speaker's  standpoint,  is  both  absolute 
and  relative.  Certain  characters,  in  impersonation,  can 
only  be  represented  by  peculiar  vocal  qualities,  and  one 
of  these  factors  is  proper  pitch  of  the  voice.  A  low  voice 
represents  a  sombre  character,  while  a  higher  range  sug- 
gests a  lighter  or  more  excitable  nature. 

But  relatively  also  pitch  is  important,  and  has  reference 
to  the  changes  from  the  medium  key  used  by  the  speaker. 
One  may  speak  upon  a  high  key,  but  by  dropping  a  note 
or  two  the  voice  will  seem  quite  low  by  contrast,  and  this 
may  be  effective  when  the  extreme  sentiment  is  not  long 
sustained.  But  when  the  character  is  assumed  through- 
out, the  accompanying  quality  of  voice,  including  pitch, 
becomes  absolute. 


PITCH  71 

The  changes  of  pitch  by  means  of  the  slide  have  already 
been  considered  under  Inflection. 

The  following  examples  will  afford  the  student  practice 
in  the  application  of  the  laws  governing  Pitch. 

Examples 

1.  Show  me  the  man  you  honor ;  I  know  by  that 
symptom,  better  than  by  any  other,  what  kind  of  a  man 
you  yourself  are.  For  you  show  me  then  what  your  ideal 
of  manhood  is ;  what  kind  of  a  man  you  long  inexpressibly 
to  be. — Thomas  Carhjle. 

2.  Not  in  vain  the  distance  beacons.     Forward,  forward 

let  us  range. 
Let  the  great  world  spin  forever  down  the  ringing  grooves 

of  change. 
Thro'  the  shadows  of  the  globe  we  sweep  into  the  younger 

day ; 
Better  fifty  years  of  Europe  than  a  cycle  of  Cathay. 
Mother-age  (for  mine  I  knew  not)  help  me  as  when  life 

begun : 
Rift  the  hills,  and  roll  the  waters,  flash  the  lightnings, 

weigh  the  Sun — 
Oh !  I  see  the  crescent  promise  of  my  spirit  hath  not  set. 
Ancient  founts  of  inspiration  well  thro'  all  my  fancy  yet. 
From  ''^Locksley  Hall " — Tennyson. 

3.  We  live  in  deeds,  not  years;  in  thoughts,  not  breaths; 
In  feelings,  not  in  figures  on  a  dial. 

We  should  count  time  by  heart-throbs.     He  most  lives 
Who  thinks  most — feels  the  noblest — acts  the  best. — Bailey. 

4.  The  man  who  hath  no  music  in  himself. 
Nor  is  not  moved  with  concord  of  sweet  sounds, 
Is  fit  for  treason,  stratagems,  and  spoils ; 

The  motions  of  his  spirit  are  dull  as  night, 
And  his  affections  dark  as  Erebus ; 
Let  no  such  man  be  trusted. 

From  "  Merchant  of  Venice  " — Shakespeare. 


72  ADVANCED    ELOCUTION 

5.  I  come !  I  come !  ye  have  called  me  long, 
I  come  o'er  the  mountains  with  light  and  song ! 
Ye  may  trace  my  step  o'er  the  wakening  earth, 
By  the  winds  which  tell  of  the  violet's  birth, 
By  the  primrose  stars  in  the  shadowy  grass, 
By  the  green  leaves  opening  as  I  pass. 

From  the  streams  and  founts  I  have  loosed  the  chain, 
They  are  sweeping  on  to  the  silvery  main, 
They  are  flashing  down  from  the  mountain  brows, 
They  are  flinging  spray  from  the  forest  boughs, 
They  are  bursting  fresh  from  their  sparry  caves, 
And  the  earth  resounds  with  the  joy  of  waves. 

From  "  The  Voice  of  Spring  " — Mrs.  Hemaiis. 

6.  My  native  country,  thee — 
Land  of  the  noble,  free — 

Thy  name  I  love ; 
I  love  thy  rocks  and  rills, 
Thy  woods  and  templed  hills ; 
My  heart  with  rapture  thrills 

Like  that  above. 

Let  music  swell  the  breeze, 
And  ring  from  all  the  trees 

Sweet  freedom's  song ; 
Let  mortal  tongues  awake ; 
Let  all  that  breathe  partake ; 
Let  rocks  their  silence  break, — 
The  sound  prolong. 
From  ''My  Country  I  'Tis  of  Thee''—S.  F.  Smith. 

7.  Casca.     Liberty !     Freedom  !     Tyrrany  is  dead ! — 
Run  hence,  proclaim,  cry  it  about  the  streets. 

Cassius.     Some  to  the  common  pulpits,  and  cry  out, 
"  Liberty,  freedom,  and  enfranchisement !" 

Brutus.     People  and  senators  !  be  not  affrighted ; 
Fly  not ;  stand  still : — ambition's  debt  is  paid. 

Casca.     Go  to  the  pulpit,  Brutus. 

Decius.     And  Cassius,  too. 

Brutus.     Where's  Publius  ? 


PITCH  73 

Cinna.     Here,  quite  confounded  with  this  mutiny. 
Metellus.     Stand  fast  together. 

From  "  Julius  Caesar  " — Shakespeare. 

8.  Bernardo.     Who's  there  ? 

Francisco.     Nay,  answer  me ;  stand  and  unfold  yourself. 
Ber.     Long  live  the  king ! 
Fran.     Bernardo  ? 
Ber.     He. 

Fran.     You  come  most  carefully  upon  your  hour. 
Ber.     'Tis  now  struck  twelve ;  get  thee  to  bed,  Francisco. 
Fran.     For  this  relief  much  thanks ;  'tis  bitter  cold  and 
I  am  sick  at  heart. — From  "  Hamlet " — Shakespeare. 

9.  Over  the  river  they  beckon  to  me, 
Loved  ones  who  crossed  to  the  other  side ; 

The  gleam  of  their  snowy  robes  I  see, 

But  their  voices  are  drowned  by  the  rushing  tide. 
There's  one  with  ringlets  of  sunny  gold. 

And  eyes  the  reflection  of  heaven's  own  blue ; 
He  crossed  in  the  twilight  gray  and  cold. 

And  the  pale  mist  hid  him  from  mortal  view, 
We  saw  not  the  angels  that  met  him  there — 

The  gate  of  the  cit}^  we  could  not  see ; 
Over  the  river,  over  the  river. 

My  brother  stands  waiting  to  welcome  me. 

From  "  Over  the  River  " — Nancy  A.  W.  Priest. 

10.  It  must  be  so — Plato,  thou  reasonest  well ! 

Else  whence  this  pleasing  hope,  this  fond  desire, 

This  longing  after  immortality  ? 

Or  whence  this  secret  dread,  and  inward  horror, 

Of  falling  into  naught?     Why  shrinks  the  soul 

Back  on  herself,  and  startles  at  destruction  ? 

'Tis  the  divinity  that  stirs  within  us  ; 

'Tis  heaven  itself,  that  points  out  an  hereafter 

And  intimates  eternity  to  man. 

From  "  Cato''s  Soliloquy  " — Addison. 

1\.  Alas,    poor   Yorrick ! — I   knew    him,   Horatio ;    a 
fellow  of  infinite  jest,  of  most  excellent  fancy ;  he  hath 


74  ADVANCED   ELOCUTION 

borne  me  on  his  back  a  thousand  times ;  and  now,  how 
abhorred  in  my  imagination  it  is. — From  "  Hamlet " — 
Shakespeare. 

12.  Brutus.     It  must  be  by  his  death ;  and  for  my  part, 
I  know  no  personal  cause  to  spurn  at  him. 
But  for  the  general.    He  would  be  crown'd  : 
How  that  might  change  his  nature,  there's  the  question. 
It  is  the  bright  day  that  brings  forth  the  adder, 
And  that  craves  wary  walking.     Crown  him  ? — that ; — 
And  then,  I  grant,  we  put  a  sting  in  him, 
That  at  his  will  he  may  do  danger  with. 
The  abuse  of  greatness  is,  when  it  disjoins 
Remorse  from  power ;  and  to  speak  truth  of  Caesar, 
I  have  not  known  when  his  affections  sway'd 
More  than  his  reason.     But  'tis  a  common  proof 
That  lowliness  is  young  ambition's  ladder. 
Whereto  the  climber-upward  turns  his  face ; 
But  when  he  once  attains  the  upmost  round, 
He  then  unto  the  ladder  turns  his  back, 
Looks  in  the  clouds,  scorning  the  base  degrees 
By  which  he  did  ascend.     So  Caesar  may. 

From  "  Julius  Caesar  " — Shakespeare, 


FORCE,  VOLUME,   INTENSITY 

Pour  the  full  tide  of  eloquence  along, 
Serenely  pure,  and  yet  divinely  strong.— Popk. 

The  amount  of  voice  and  its  Intensity  are  determined 
by  the  nature  of  the  sentiment  and  the  size  of  the  audi- 
ence. 

Volume  depends  upon  the  amplitude  of  the  sound 
waves. 

Force  has  reference  to  the  height  of  these  impulses. 

In  comparing  waves  of  sound  with  waves  of  water,  we 
notice  in  the  latter  that  at  times  they  are  long  distances 
apart,  and  then  again  rise  higher  and  are  closer  togetner. 


75 

The  air  may  be  expelled  from  the  lungs  in  small  quan- 
tities, but  when  the  impulse  is  firm  and  the  throat  open, 
the  small  sound  resulting  is  projected  to  a  great  distance. 
Conversely,  a  large  amount  of  air  may  be  expelled,  and 
the  mouth  and  throat  partly  closed  and  the  muscular 
action  not  vigorous ;  this  results  in  a  large  volume  of 
sound  without  carrying  power. 

A  distant  peal  of  thunder  may  be  louder  than  the 
shriek  of  a  whistle,  but  the  latter  might  be  more  irritating 
because  it  would  be  more  intense.  Intense  sounds  need 
not  be  loud,  and  yet  they  may  strike  the  ear  very  much 
as  a  flash  of  lightning  affects  the  eye. 

Intensity  of  feeling  calls  for  its  corresponding  quality 
of  voice.  The  tendency  with  many  speakers  is  to  bawl 
when  wrought  up  in  delivery ;  the  voice  rises  to  an  ab- 
normally high  pitch,  often  ending  in  a  shriek.  This  is  the 
language  of  nothing  but  excitement.  In  strong  sentiment 
and  passages  of  much  feeling  the  vowel  is  struck  firmly, 
but  not  loudly. 

When  a  speaker  is  moved  the  vocal  organs  are  excited ; 
if  there  is  no  restraint  the  voice  becomes  rapid  and  clam- 
orous, and  the  speaker  seems  to  be  tossed  in  a  tempest. 

But  when,  under  these  circumstances,  the  voice  is 
controlled,  a  new  element  of  strength  is  added,  and  the 
result  is  a  peculiar  quality,  impossible  to  describe,  but 
which  may  be  called  intensity.  A  speaker  must  have  the 
mastery  of  all  his  powers,  and  as  voice  is  the  great  ex- 
pressive agent,  it  follows  that  its  control  is  imperative. 
One  is  not  much  affected  at  seeing  a  hysterical  person 
weep,  but  the  sobs  of  a  strong  man  who  is  endeavoring  to 
control  his  emotion  is  affecting  in  the  extreme. 

Varieties  of  force  may  be  represented  by  the  following 
extracts.  The  student  should  remember  that  the  amount 
of  voice  is  governed  by  the  intensity  of  the  sentiment  and 
the  number  of  persons  addressed. 


76  ADVANCED   ELOCUTION 

The  extracts  in  the  various  preceding  chapters  may 
also  be  used  to  represent  varieties  of  force. 

Examjyles 

1.  The  snow  had  begun  in  the  gloaming, 

And  busily  all  the  night 
Had  been  heaping  hedge  and  highway 

With  a  silence  deep  and  white. 
Every  pine  and  fir  and  hemlock, 

Bore  ermine  too  dear  for  an  earl, 
And  the  poorest  twig  on  the  elm  tree 

Was  ridged  inch-deep  with  pearl. 

I  stood  and  watched  by  the  window 

The  noiseless  work  of  the  sky. 
And  the  sudden  flurries  of  snow-birds, 

Like  brown  leaves  whirling  by. 
I  thought  of  a  mound  in  sweet  Auburn, 

Where  a  little  headstone  stood ; 
How  the  flakes  were  folding  it  gently, 

As  did  robins  the  babes  in  the  wood. 

From  "  The  First  Snow-Fall  ''—Lowell 

2.  I  once  had  a  little  brother 

With  eyes  that  were  dark  and  deep ; 
In  the  lap  of  that  dim  old  forest, 

He  lieth  in  peace  asleep  ; 
Light  as  the  down  of  the  thistle, 

Free  as  the  winds  that  blow. 
We  roved  there  the  beautiful  summers, 

The  summers  of  long  ago. 

From  "  Pictures  of  Memory  " — Alice  Cary. 

3.  They  drew  him  to  my  very  feet,  insensible,  dead. 
He  was  carried  to  the  nearest  house,  and  every  means  of 
restoration  was  tried  ;  but  he  had  been  beaten  to  death  by 
the  great  wave,  and  his  generous  heart  was  stilled  forever. 

As  I  sat  beside  the  bed  when  hope  was  abandoned,  and 
all  was  done,  a  fisherman  who  had  known  me  when 
P^mily  and  I  were  children,  and  ever  since,  whispered  my 
name  at  the  door.     "  Sir,  will  you  come  over  yonder  ?" 


FORCE,  VOLUME,  INTENSITY  77 

The  old  remembrance  that  had  been  recalled  to  me  was 
in  his  look,  and  I  asked  him  :  "  Has  a  body  come  ashore?" 
"Yes."     ''Do  I  know  it?" 

He  answered  nothing,  but  he  led  me  to  the  shore,  and 
on  that  part  of  it  where  she  and  I  had  looked  for  shells,  two 
cliildrcn — on  that  part  of  it  where  some  lighter  fragments 
of  the  old  boat  blown  down  last  night  had  been  scattered 
by  the  winds — among  the  ruins  of  the  home  he  had 
wronged — I  saw  him  lying  with  his  head  upon  his  arm  as 
I  had  often  seen  him  lie  at  school. — From  "  David  Copper- 
field  " — Charles  Dickens. 

4.  Till  the  cricket  came,  nature  had  remained  voiceless ; 
it  is,  with  the  cicada,  the  patriarch  of  song. 

It  has  successively  witnessed  all  the  epochs  of  the 
world's  progressive  evolution ;  it  has  seen  the  formation  of 
continents ;  its  note  is  like  the  echo  of  vanished  ages,  a 
faint  reminiscence  of  the  past.  I  seemed,  therefore,  in 
that  evening  concert  to  be  carried  back  to  a  period  pre- 
ceding by  millions  of  years  the  creation  of  man.  I  listened 
to  the  cricket  and  understood  it.  It  said :  "  Be  not  un- 
grateful ;  do  not  forget  your  best  friend,  nature,  that 
mother  ever  young  and  ever  charming ;  do  not  spend  your 
life  within  stone  walls;  do  not  breathe  incessantly  the 
dust  of  your  factories ;  do  not  waste  away  in  the 
stupid  noises  of  your  cities;  come  back  to  us  sometimes 
and  drink  in  the  atmosphere  of  fields  and  woods.  All 
the  voices  of  nature  invite  you  to  admire  the  beauty  of  the 
universe  about  you  ;  its  history  is  full  of  interest ;  under- 
stand it,  and  live  somewhat  like  us  in  the  cahnness  and 
happiness  of  simplicity." — From  "  Nature  " — Camille  Flam- 
marion. 

5.  Ye  crags  and  peaks,  I'm  with  you  once  again  I 
I  hold  to  you  the  hands  you  first  beheld. 
To  show  they  are  still  free.     Methinks  I  hear 
A  spirit  in  your  echoes  answer  me, 
And  bid  your  tenant  welcome  to  his  home 
Again  !  O  sacred  forms,  how  proud  you  look  I 
How  high  you  lift  your  heads  into  the  sky ! 
How  huge  you  are !  how  mighty  and  how  free  I 


78  ADVANCED   ELOCUTION 

Ye  are  the  things  that  tower,  that  shine, — whose  smile 
Makes  glad,  whose  frown  is  terrible,  whose  forms, 
Robed  or  unrobed,  do  all  the  impress  wear 
Of  awe  divine.     Ye  guards  of  liberty, 
I'm  with  you  once  again !     I  call  to  you 
With  all  my  voice!     I  hold  my  hands  to  you, 
To  show  they  still  are  free.     I  rush  to  you, 
As  though  I  could  embrace  you. 

From  '''■Tell  on  his  Native  Hills  " — J.  S.  Knowles. 

6.  King   Henry.      Once  more   unto    the   breach,   dear 
friends,  once  more ; 
Or  close  up  the  wall  with  our  English  dead ! 
In  peace  there's  nothing  so  becomes  a  man 
As  modest  stillness  and  humility ; 
But  when  the  blast  of  war  blows  in  our  ears, 
Then  imitate  the  action  of  the  tiger ; 
Stiffen  the  sinews,  summon  up  the  blood, 
Disguise  fair  nature  with  hard-favor'd  rage ; 
Then  lend  the  eye  a  terrible  aspect ; 
Let  it  pry  through  the  portage  of  the  head, 
Like  the  brass  cannon. 

Now  set  the  teeth,  and  stretch  the  nostrils  wide ; 
Hold  hard  the  breath,  and  bend  up  every  spirit 
To  its  full  height!     On,  on,  you  noble  English  I 
I  see  you  stand  like  greyhounds  in  the  slips, 
Straining  upon  the  start.    The  game's  afoot ; 
Follow  your  spirit ;  and,  upon  this  charge, 
Cry — God  for  Harry  !  England  !  and  Saint  George  ! 

From ''^ Henry  F" — Shakespeare. 


RHYTHM 


"  I  pray  you,  mar  no  more  of  my  verses  by  reading  them  ill-fa voredly."— 
Shakespeare. 

Rhythm  is  the  regular  and  harmonious  recurrence  of 
pleasant  sounds.  Civilization  itself  means  system  and 
proportion.    Science  is  beautiful  in  spirit,  for  it  seeks  after 


RHYTHM  70 

plan  and  purpose,  and  how  beautiful  is  that  knowledge 
which  endeavors  to  reconcile  every  fact  and  phenomenon 
with  every  other,  however  diverse  they  may  appear  to  be. 
Beauty  is  harmony  and  purpose,  and  it  is  difficult  to  sepa- 
rate the  £esthetic  from  the  utilitarian.  The  artist  repre- 
sents rhythm  in  outline  and  in  light  and  shade ;  the 
sculptor  embodies  it  in  symmetry  and  proportion  ;  the 
writer  in  beautiful  thoughts  and  graceful  sentences ; 
the  musician  in  pleasing  combinations  of  melody,  and  the 
speaker  comes  in  close  communion  with  all  these  when 
by  voice  and  manner,  he  throws  over  the  rugged  forms  of 
speech,  the  mantle  of  flowing  harmony. 

The  sense  of  beauty  and  adornment  exists  to  a  degree 
in  every  human  being.  How  essential  and  powerful,  then, 
it  may  become  in  spoken  language. 

There  is  no  conflict  between  rhythm  and  sense.  Sing- 
song is  not  rhythm,  nor  is  harsh  and  broken  discourse  the 
sign  of  intellectuality.  The  highest  form  of  beauty  is  not 
incompatible  with  the  best  sense. 

Rhythm  is  not  entirely  mechanical.  It  must  first  exist 
in  the  person's  nature ;  the  ear  must  be  able  to  detect  and 
appreciate  it,  before  it  can  be  produced.  It  may  be  culti- 
vated, but  will  never  reach  its  perfection  till  it  rises  far 
beyond  mere  mechanism.  It  is  the  result  of  taste  as  deli- 
cate as  that  of  an  artist. 

The  province  of  the  rhetorician  will  not  be  encroached 
upon  by  giving  here  examples  with  which  text-books 
abound.  His  work  will  be  supplemented  rather  by  em- 
phasizing a  few  principles  of  this  subject  peculiarly  within 
the  domain  of  the  reader  or  speaker. 

This  subject  may  be  considered  under  four  heads : 
Time,  Accent,  Movement,  and  Tone-Color. 


80  ADVANCED   ELOCUTION 

TIME 

Time  is  a  factor  in  Rhythm  observed  by  the  best  writers 
in  their  arrangement  of  the  measure,  and  it  should  be  as 
carefully  regarded  by  the  reader. 

In  all  well-written  compositions  the  poet  has  suggested 
the  movement  by  the  metre,  but  when,  from  the  nature  of 
the  poem,  the  spirit  of  the  sentiment  varies,  the  interpreter 
niust  not  allow  himself  to  be  hampered  by  the  mechanism. 
What  the  poet  has  done  is  not  meant  to  hinder  but  to  help 
the  speaker. 

Observe  how  the  different  measures  in  the  following 
selections  harmonize  with  the  varying  nature  of  the  sen- 
timent : 

Examples 

1.  The  Assyrian  came  down  like  a  wolf  on  the  fold. 
And  his  cohorts  were  gleaming  with  purple  and  gold ; 
And  the  sheen  of  their  spears  was  like  stars  on  the  sea. 
When  the  blue  wave  rolls  nightly  on  deep  Galilee. 

From  "  The  Destruction  of  Sennacherib  " — Byron. 

2.  One  touch  to  her  hand,  and  one  word  in  her  ear, 
When  they  reached  the  hall  door,  where  the  charger  stood 

near  ; 

So  light  to  the  croup  the  fair  lady  he  swung. 

So  light  to  the  saddle  before  her  he  sprung ; 

"  She  is  won  !     We  are  gone,  over  bank,  bush,  and  scaur ; 

They'll  have  fleet  steeds  that  follow !"  quoth  young  Loch- 
invar.  From  "  Lochinvar  "—  Scott. 

3.  I  sprang  to  the  stirrup,  and  Joris,  and  he ; 

I  galloped,  Dirck  galloped,  we  galloped  all  three ; 
"  Good   speed !"   cried   the   watch,  as  the  gate-bolts  un- 
drew ; 
"  Speed  !"  echoed  the  wall  to  us  galloping  through  ; 
Behind  shut  the  postern,  the  lights  sank  to  rest. 
And  into  the  midnight  we  galloped  abreast. 
From  ^^How  they  Brought  the  Good  News  " — Robefi't  Browning, 


RHYTHM  81 

4.  The  splendor  falls  on  castle-walls 
And  showy  summits  old  in  story  ; 
The  long  light  shakes  across  the  lakes 

And  the  wild  cataract  leaps  in  glory. 
Blow,  bugle,  blow,  set  the  wild  echoes  flying ; 
Blow,  bugle,  blow ;  answer,  echoes,  dying,  dying,  dying. 
From  "  The  Princess  " — Tennyson. 

5.  Singing  through  the  forests, 
Rattling  over  ridges, 
Shooting  under  arches, 

Rumbling  over  bridges, 
Whizzing  through  the  mountains, 

Buzzing  o'er  the  vale, 
Bless  me !  this  is  pleasant, 
Riding  on  a  rail. 
From  "  Rhyme  of  the  Bail " — John  G.  Saxe. 

6.  Did  you  hear  of  the  Widow  Malone, 

Oh  one ! 
Who  lived  in  the  town  of  Athlone, 

Alone ! 
Oh,  she  melted  the  hearts 
Of  the  swains  in  them  parts 
So  lovely  the  Widow  Malone, 

Ohone ! 
So  lovely  the  Widow  Malone. 

From  "  Widow  Malone  " — Charles  Lever, 

7.  How  beautiful  this  night !  the  balmiest  sigh. 
Which  vernal  zephyrs  breathe  in  evening's  ear. 
Were  discord  to  the  speaking  quietude 
That  wraps  this  moveless  scene. — Shelley. 

8.  Once  upon  a  midnight  dreary,  while  I  pondered  weak 
and  weary  [lore. 

Over  many  a  quaint  and  curious  volume  of  forgotten 
While  I  nodded,  nearly  napping,  suddenly  there  came  a 
tapping. 
As  of  some  one  gently  rapping,  rapping  at  my  chamber 
door. — From  "  The  Raven  " — Edgar  A.  Poe. 
6 


82  ADVANCED    ELOCUTION 

9.  Tis  midnight's  holy  hour,  and  silence  now 
Is  brooding  like  a  gentle  spirit  o'er 
The  still  and  pulseless  world.     Hark  !  on  the  winds 
The  bell's  deep  tones  are  swelling;  'tis  the  knell 
Of  the  departed  year. 

From  ''''The  Closing  Year  " — George  D.  Prentice, 

ACCENT 

Accent  is  so  well  understood  that  its  study  for  prose 
reading  is  unnecessary.  We  learn  accent  in  the  same 
way  we  learn  words ;  it  is  a  part  of  their  pronunciation. 
Every  one  appreciates  the  value  of  rhythmical  movement. 
It  is  pleasant  to  listen  to  the  regular  splash  of  the  waves 
on  the  shore,  the  cry  of  the  katydid,  the  steady  patter  of 
rain,  or  the  horse's  hoof-beats  on  the  frozen  earth. 

Accent  is  stress  given  to  a  sound ;  it  is  pulsation  and  con- 
sequent recession.  By  proper  accent  one  syllable  stands 
out  prominently  while  the  others  are  comparatively  ob- 
scure. In  poetry  these  pulsations  are  regular,  while  in 
prose  they  are  not  governed  by  any  rule.  In  compositions, 
however,  where  the  emotions  are  aroused  and  the  imagina- 
tion is  given  play,  there  is  a  tendency  toward  beautiful 
forms  of  expression,  and  a  great  many  prose  passages  of 
the  best  writers  are  very  rhythmical.  The  rhythm  in  the 
italicized  parts  of  the  following  is  perfect : 

She  was  dead.  No  sleep  so  beautiful  and  calm,  so  free  from 
trace  of  pain,  so  fair  to  look  upon.  She  seemed  a  creature  fresh 
from  the  hand  of  God. — Charles  Dickens. 

Again  the  pealing  organ  heaved  thrilling  thunders. — Irving. 

As  all  modern  English  poetry  is  marked  by  regularly 
recurring  accent,  examples  may  be  found  anywhere. 

The  reader  should  observe  its  principles,  exercising  care 
not  to  render  it  too  prominent  on  the  one  hand,  nor  en- 
tirely to  obscure  it  on  the  other.     If  it  is  made  too  promi- 


RHYTHM  83 

nent  it  has  the  effect  of  scanning,  and  this  is  not  pleasing. 
When  it  is  entirely  obscured,  the  poetry  will  be  destroyed, 
and  will  have  no  more  effect  than  prose. 

MOVEMENT 

Beauty  is  represented  by  harmony.  Waves  and  curves 
are  used  to  express  it.  In  poetry  the  ragged  edges  of  mere 
intellectuality  are  smoothed  down,  and  the  thought  is 
presented  in  a  more  pleasing  form. 

In  much  of  prose  reading,  the  voice  moves  in  straight 
lines  and  angles,  but  in  poetry,  which  is  usually  the  ex- 
ponent of  the  emotions,  and  which  appeals  so  largely  to 
the  imagination,  the  voice  becomes  not  only  rhythmical, 
but  it  moves  also  in  graceful  waves.  Perhaps  there  are  as 
many  inflections  in  poetry  as  in  prose,  for  these  serve  to 
bring  out  the  sense  (and  there  should  be  intelligence  of 
the  highest  order  underlying  every  poem),  but  the  inflec- 
tions are  of  a  different  kind.  Often  the  downward  slide 
curves  upward  at  its  close,  to  meet  the  next  sound,  and  to 
render  the  break  in  the  flow  of  voice  less  abrupt ;  and  the 
rising  inflection  bends  downward  for  the  same  reason.  In 
beautiful  sentiment,  there  are  many  waves,  but  no  angular 
circumflexes.  The  greater  the  beauty  and  the  more  im- 
aginative, grave,  or  reverent,  the  greater  should  be  the 
time  upon  the  vowels. 

TONE  COLOR 

Tone  color  is  a  feature  of  all  oral  expression,  but  it  is 
especially  prominent  in  poetry.  Tones  are  peculiarly  the 
language  of  the  emotions,  and  beautiful  passages  can  be 
uttered  effectively  only  by  an  understanding  of  their 
values.  True  poetry  takes  this  into  consideration,  and  is 
written  with  a  knowledge  of  the  proper  sounds  with  which 
the  words  should  be  uttered. 


84  ADVANCED    ELOCUTION 

Many  words  of  our  language  owe  their  origin  to  their 
sound  which  suggests  a  particular  idea  or  action,  so  that 
even  a  stranger  to  the  language  would  guess  their  meaning. 
These  are  tone  words.  Almost  all  other  words  acquire  a 
special  value  when  uttered  with  proper  intonation  and 
shading.  A  correct  use  of  tones  is  necessary  to  the  delicate 
sentiments  of  poetry. 

The  mere  sound  conveys  almost  the  entire  meaning  of 
the  following  words : 

Roar,  thud,  roll,  peal,  gurgle,  swash,  splash,  tug,  glide, 
murmuring,  thunder,  rasp,  grate,  howl,  wriggle,  boom. 

Note  the  tone-coloring  of  the  following : 

1.  I  heard  the  trailing  garments  of  the  Night 

Sweep  through  her  marble  halls; 
I  saw  her  sable  skirts  all  fringed  with  light 
From  the  celestial  walls. 

From  ''''Hymn  to  the  Night " — Longfellow. 

2.  The  moan  of  doves  in  immemorial  elms, 

And  murmuring  of  innumerable  bees. — Tennyson. 

3.  "  The  Bells,"  by  Poe,  is  masterly  in  its  suggestivenesa 
of  the  powers  of  spoken  words. 


ENUNCIATION 

*' Speak  the  speech  I  pray  you    ....    trippingly  on  the  tongue."— Hamlet. 

Enunciation  has  reference  to  the  reaching  power  of  the 
voice.  It  means  the  power  of  projection.  It  does  not 
necessarily  contemplate  loudness. 

It  may  be  divided  into  two  branches :  distinct  articu- 
lation and  tone  projection.  Each  sound  we  hear  is  the 
result  of  certain  soundwaves.  Unless  the  impulses  pro- 
ducing each  sound  have  clear  spacing  and  stand  alone,  the 


ENUNCIATION  85 

ear  will  fail  to  separate  the  successive  impulses.  Throw 
a  few  pebbles  into  the  water,  and  from  each  will  radiate 
a  series  of  waves.  The  ability  of  the  eye  to  distinguish 
between  these  impulses  depends  upon  their  separation. 
If  there  is  not  definite  spacing  between  them  they  will 
appear  to  the  eye  as  a  hopeless  jumble,  and  confusion 
will  result.  What  these  waves  are  to  the  eye  sound  waves 
are  to  the  ear. 

Each  sound  is  the  result  of  an  impression  made  upon 
the  ear;  it  is  a  photograph  of  vibrations;  our  mental 
nature  perceives  differences  in  these  physical  pictures,  and 
hence  our  knowledge  of  tones.  These  vibrations  may  be 
vivid  and  distinct,  and  there  may  be  no  difficulty  in  per- 
ceiving them  and  in  noting  their  differences.  But  when 
one  begins  before  the  other  ends,  and  the  impressions  are 
indistinct,  there  will  be  an  effort  to  classify  them,  and 
hence  inability  to  hear  and  understand. 

Oftentimes  a  speaker  is  heard  with  effort,  the  audience 
unconsciously  piecing  out  and  filling  in  the  discourse. 
Frequently  the  listener  decides  what  a  word  is  by  the  con- 
text, and  often  waits  through  sentences,  before  he  can 
supply  the  missing  link. 

In  public  delivery,  all  powers  of  speech  are  magnified ; 
the  articulation  becomes  more  distinct,  the  tones  thrown 
well  forward,  the  words  struck  firmly,  and  the  utterance 
more  deliberate. 

It  may  be  set  down  as  a  rule  that  the  voice  follows  the  eye 
— it  follows,  when  the  eye  looks  with  intelligence  and  purpose. 

There  are  speakers  who  look  at  the  ceiling  and  the  voice 
follows,  others  direct  the  eye  to  a  few  immediately  in  front 
of  them,  and  probably  but  few  others  hear.  Some  look 
over  the  multitudes  and  speak  to  those  farthest  away,  and 
many  look  at  an  audience  and  see  without  seeing,  their 
eye  has  a  dreamy,  far-away  look  that  shuts  out  the  audi- 
ence from  close  sympathy  and  helpfulness. 


86  ADVANCED   ELOCUTION 

Now,  if  when  the  eye  reaches  with  an  intelligent  look, 
the  voice  follows,  how  necessary  it  becomes  to  look  the 
whole  audience  in  the  face,  and  to  direct  the  discourse  to 
every  one  present.  Apart  from  tone  projection,  this  is  one 
of  the  most  effective  things  a  speaker  can  do.  It  should 
be  remembered  that  an  audience  is  a  congregation  of  indi- 
vidaals. 

The  voice  is  thrown  as  a  ball  is  thrown ;  the  distance 
is  measured  instantly,  and  the  impulse  is  spontaneous  and 
more  or  less  accurate.  In  speaking  to  an  individual,  the 
voice  is  adapted  to  that  person  ;  when  talking  to  ton  per- 
sons, the  voice  is  unconsciously  enlarged ;  it  is  still  further 
broadened  in  addressing  a  hundred,  and  then  the  si)eaker 
has  emerged  from  conversation  to  i)ublic  address.  \\'hat 
is  true  of  numbers  is  true  of  distance.  We  address 
persons  within  a  few  feet  of  us,  at  another  time,  we  reach 
them  hundreds  of  yards  distant,  and  are  not  conscious 
of  any  mental  calculation  as  to  volume  or  quality  of 
voice. 

Students  may  practice  by  uttering  the  vowels  firmly 
with  both  musical  and  intiected  tones  (see  charts)  rapidly, 
then  slowly,  separating  the  sounds  absolutely,  and  with  a 
moderate  degree  of  force.  Practice  in  a  large  hall  or  room, 
using  a  comparatively  small  voice,  and  project  the  voice 
till  it  fills  every  part,  spacing  the  words  properly  and 
bringing  out  clearly  every  syllable. 

Out-door  exercise,  where  convenient,  is  excellent.  The 
student  may  select  an  object  at  any  distance  and  focus  the 
voice  at  that  point.  When  practicing  in  a  small  room, 
the  voice  may  be  projected  as  though  it  were  to  be 
thrown  a  long  distiince,  as  across  the  street,  or  to  the  next 
house. 

An  assistant  may  be  of  advantage  in  these  exorcises.  Lot 
him  insist  on  hearing  easily  every  syllable.  Avoid  shouting 
and  keep  the  delivery  natural,  not  overstrained  or  stilted. 


IMPERSONATION  87 

The  endeavor  to  focus  the  voice  in  various  parts  of  the 
mouth  is  of  questionable  value.  The  natural  point  is 
towards  some  object,  as  in  the  use  of  the  voice  in  every- 
day experience. 

All  the  graces  of  recitation  and  oratory  fail  if  the  speaker 
is  not  understood. 


IMPERSONATION 

I'll  play  the  orator, 
As  if  the  golden  fee,  for  which  I  plead. 
Were  for  myself.— Ssakkspxare. 

Expression  is  largely  the  result  of  the  innate  nature  of 
the  sentiment,  but  not  solely  so.  All  expression  is  tinged 
by  the  character  uttering  it.  One  person  bids  us  '*  good 
morning  "  in  a  very  different  manner  from  another,  and  in 
many  plays  the  fool  often  utters  wise  words,  and  yet, 
through  it  all,  presents  the  character  of  the  fool. 

It  is  true  that  the  nature  of  a  person  usually  determines 
the  kind  of  sentiment  he  will  utter,  but  not  always.  For 
great  men  are  not  great  at  all  times,  nor  are  fools  always 
fools.  Even  conventional  and  commonplace  expressions 
bespeak  one's  personality. 

There  are  certain  well-established  and  conventional  forms 
of  voice  for  particular  kinds  of  characters.  Naturally,  we 
cannot  know  what  many  voices  historically  and  actually 
were,  but,  understanding  the  character  we  are  to  interpret, 
a  definite  voice  is  assumed. 

We  are  constantly  impersonating,  and  we  are  compelled 
to  do  so  as  long  as  men  will  receive  impressions,  not  only 
by  what  we  say,  but  by  the  way  we  say  it.  In  reading 
aloud  the  words  of  Christ,  if  they  are  spoken  with 
gentleness  and  power,  their  effect  will  be  more  marked. 
This  is  because  the  hearer  is  unconsciously  impressed 
that  He  spoke  them  in  that  way.     If,  on  the  other  hand. 


88  ADVANCED   ELOCUTION 

the  voice  is  harsh  and  cold,  an  audience  cannot  re- 
ceive the  full  import  of  the  words,  because  they  will 
unfailingly  connect  the  manner  of  the  interpreter  with  the 
author. 

Firmness  and  Dignity  are  usually  represented  in  a  pitch 
slightly  below  the  medium  ;  the  inflections  tend  in  straight 
lines,  inclining  to  the  downward.  The  words  are  touched 
firmly  and  confidently. 

Examples 

1.  We  hold  these  truths  to  be  self-evident :  that  all  men 
are  created  equal.  — From  the  Declaration  of  Independence. 

2.  Brutus — I  kiss  thy  hand,  but  not  in  flattery,  Caesar.-^ 
From  "  Julius  Cassar  " — Shakespeare. 

3.  I  shall  enter  on  no  encomium  upon  Massachusetts ; 
she  needs  none.  There  she  is.  Behold  her,  and  judge  for 
yourselves. — Daniel  Webster. 

4.  There  was  a  South  of  secession  and  slavery:  that 
South  is  dead.  There  is  a  South  of  union  and  freedom  : 
that   South  is  living,  breathing,  growing   every   hour. — 

From  "  The  New  South  " — Henry  W.  Grady. 

Great  Dignity  and  Arrogance  take  a  more  stately  and 
measured  movement.  There  is  little  inflection,  and  the 
voice  moves  almost  altogether  in  straight  lines.  The  voice 
is  imperious  and  unbending.     The  pitch  is  low. 

Examples 

1.  Now,  Hamlet,  where's  Polonius? — Hamlet. 

2.  For  always  I  am  Caesar. — Julius  Caesar. 

3.  Is  our  whole  dissembly  appeared? — Much  Ado  About 
Nothing. 


IMPERSONATION  89 

Villainy  assumes  many  forms.  There  is  the  smooth, 
crafty  villain  like  Fagan,  the  Jew,  whose  words  are  oily 
and  whose  phrases  are  smooth. 

The  voice  is  soft  and  condescending,  with  considerable 
inflection,  the  sound  of  s  being  prominent,  as  in, 

Yes,  Nancy,  my  dear. — Oliver  Twist. 

There  is  also  the  brutal  villain,  who  conceals  nothing, 
but  who  is  openly  hard,  cold,  and  depraved.  The  voice 
is  very  guttural  and  blunt,  and  falling  inflections  predomi- 
nate, as  in  the  character  of  Bill  Sykes : 

I'll  kill  you,  Nancy. — Oliver  Twist. 

Then  there  is  the  crafty  plotter,  as  lago  in  Othello,  and 
the  cunning  and  heartless  Shylock.  In  the  voice  of  the 
latter  there  is  much  harshness,  and  the  slides  run  into 
circumflexes ;  as.  Hath  a  dog  money  ? 

Impetuous  Characters  speak  rapidly,  often  on  a  higher 
pitch. 

Laziness  produces  sluggish  movement,  running  into  a 
drawl,  often  accompanied  by  nasality. 

The  Clown,  and  Uncouth  Rural  Characters  usually 
have  a  great  deal  of  nasality,  coupled  often  with  long 
slides  on  almost  every  word.  Many  examples  may  be 
found  in  poems  and  stories  in  dialect.  (See  Nasal 
Voice,  page  62.) 

Mental  weakness  may  be  represented  by  a  high,  thin, 
unstable  voice,  with  inflections  often  running  through  an 
octave.  The  voice  may  also  run  into  tremolo  and  minor 
notes,  as : 

Give  me  my  shoes ;  I  want  my  shoes. — From  "  Tale  of 
Two  Cities  " — Charles  Dickens. 


90  ADVANCED    ELOCUTION 

Man  Imitating  Woman.  The  voice  is  considerably 
higher  than  the  ordinary,  and  of  a  much  lighter  quality ; 
there  are  also  more  inflections. 

Woman  Imitating  Man.  The  voice  should  be  lower 
and  firmer,  with  an  increase  in  the  number  of  downward 
inflections. 

Weakness  of  Character  and  Deference  are  marked  by 
higher  pitch, more  upward  slides  and  hesitancy  of  utterance. 

Ghostlike  or  supernatural  characters  are  represented  by 
a  low,  hollow  voice,  with  very  measured  movement.  The 
voice  runs  into  minors,  and  occasionally  is  marked  with 
tremolo. 

Ghost. —  My  hour  is  almost  come, 

When  I  to  sulphurous  and  tormenting  flames 
Must  render  up  myself. 

From  "  Hamlet " — Shakespeare. 

What  man  is  he  who  drinks  hollands  alone,  in  a  church- 
yard, this  time  o'  night. — Charles  Dickens. 

There  are  as  many  kinds  of  characters  as  there  are  per- 
sons, but  there  are  certain  well-known  types,  and  each 
type  demands  its  own  peculiar  voice  and  manner.  The 
best  help  a  student  can  have  in  impersonation  is  to  notice 
closely  the  classes  of  people  representing  different  types, 
and  by  careful  imitation  he  may  grow  proficient  in  im- 
personation. 

One  guiding  principle  will  be  of  service,  viz. :  the  voice 
should  represent  the  character.  A  firm  character  takes  a 
firm  voice,  a  "  loud  "  character  a  loud  voice,  an  unstable 
character  an  unstable  voice,  a  mild  character  a  mild  voice, 
a  harsh  character  a  harsh  voice,  an  indolent  character 
an  indolent  voice. 

As  the  character  is,  so  should  the  movements  of  the 
body  be,  and  as  the  movements  of  the  body  are,  so  should 
the  voice  be. 


STRESS — CADENCE  91 


STRESS 

Stress  is  shown  in  the  various  exercises  of  the  chart, 
and  it  can  be  considered  better  in  that  connection.  It  is 
placed  principally  upon  vowels,  but  where  these  are  in 
the  midst  of  words  it  is  difficult  to  treat  of  their  stress 
scientifically.  Many  examples  with  which  the  books 
abound,  intended  to  illustrate  different  varieties  of  stress, 
are  better  suited  to  represent  other  varieties  of  voice. 

The  stress  of  a  word  depends  chiefly  on  the  position  of 
the  accented  vowel.  Often  a  word  beginning  with  an 
accented  vowel  is  mistaken  as  the  one  that  should  have 
radical  stress,  while  a  firm  inflection  upon  a  word  ending 
with  an  accented  vowel,  makes  this  word  appear  to  have 
terminal  stress.  This  happens  without  regard  to  the  actual 
stress  on  the  vowel,  which  usually  has  such  short  duration 
that  the  ear  is  unable  to  detect  it. 

The  subject  may  be  considered  with  some  profit  under 
the  guidance  of  a  careful  teacher,  but  it  is  impracticable 
to  give  exercises,  for  the  student  would  be  likely  to  misin- 
terpret them. 


CADENCE 


Her  silver  voice 
l8  the  rich  music  of  a  summer  bird. 
Heard  in  the  still  night,  with  its  passionate  cadence.— Longfellow. 

There  is  no  science  on  this  subject  that  is  clearly  under- 
stood and  recognized.  Any  consideration,  therefore,  of 
cadence  would  only  tend  to  confuse  the  student,  but  all 
inquiries  under  this  head  can  be  satisfied,  if  the  principles 
contained  in  other  chapters  of  this  work,  are  properly 
applied. 


92  ADVANCED    ELOCUTION 


REMARKS 

The  logical  outgrowth  and  fruition  of  knowledge  is  Ex- 
pression. Knowledge,  life,  and  truth  seek  to  manifest  the 
fact  of  their  existence. 

The  ahility  to  express  depends  upon  the  knowledge  of 
expressive  media — the  al)ility  to  symholize. 

Thought  and  emotion  do  not  create  media  (except 
through  lapse  of  time)  ;  they  use  the  media  already  pos- 
sessed. 

The  symbols  of  Expression  are  learned  principally 
through  conscious,  or  unconscious  imitation. 

Imitation  is  one  of  the  most  important  faculties. 
Through  it  we  gain  materials.  By  imagination  and  in- 
vention we  create  new  forms  out  of  these  materials. 

Most  of  our  words  and  tones  have  been  copied  from 
others.     Their  use  is  tinged  by  our  individuality. 

The  first  stages  of  art  are  largely  imitative  and  techni- 
cal Technique  should  not  be  feared  so  long  as  it  is  cor- 
rect. 

The  higher  stages  of  art  are  those  in  which  the  student 
learns  to  create.  He  can  create  only  out  of  the  materials 
of  which  he  is  master. 

Mechanism  can  no  longer  master  us  when  we  master  it. 
Freedorrt  comes  in  obedience  to  law.  We  can  never  gain 
it  till  we  master  the  Laws  of  Expression. 

Words  are  largely  artificial  symbols.  Tones  are  innate 
and  belong  to  the  animal.  Therefore,  words  are  largely 
intellectual  and  formal ;  tones  are  vital,  spontaneous,  and 
emotional. 

We  cannot  express  what  we  cannot  conceive.  Often  we 
cannot  express  even  a  tithe  of  what  is  conceived. 


VERBAL  EXPRESSION 

"  There  is  no  point  wliere  Art  so  nearly  touches  Nature  as  when  it  appears 
in  the  form  of  words."— Holland. 

Whether  language  was  given  us  by  the  Creator,  or 
whether  man  was  obliged  to  evolve  the  power  of  com- 
municating his  thoughts  to  his  fellow-man  from  the  neces- 
sities of  his  existence,  is  less  important  to  us,  than  the 
fact  that  we  are  in  possession  of  language. 

That  we  complacently  accept  our  inheritance,  and  too 
often  fail  to  appreciate  its  value,  is  an  acknowledged  fact. 
That  we  whose  glorious  legacy  is  the  English  language, 
rich  in  poetry,  comprehensive  in  history,  profound  in 
philosophy,  fertile  in  fiction,  and  destined  in  time  to 
become  the  language  of  the  world — that  Ave,  together 
with  the  other  English-speaking  nations,  are  especially  un- 
mindful of  our  inestimable  heritage  and  of  our  exalted 
privilege,  is  greatly  to  be  deplored. 

The  importance  of  the  study  of  language  has  been  re- 
cognized in  all  ages  ;  and  in  our  own  time  the  opportunities 
for  its  study  are  so  abundant  that  the  humblest  may  avail 
himself  of  them.  "  For  its  beauty  as  a  science,"  says  an 
eminent  writer,  "  for  its  usefulness  as  an  art,  for  its  disci- 
plinary advantages  as  a  study,  language  can  scarcely  be  out- 
ranked in  excellence  by  any  other  subject  open  to  the  con- 
templation of  finite  minds." 

Language  is  what  we  speak.  All  articulate  speech  is 
made  up  of  words.  How  few  of  us  ever  stop  to  con- 
sider the  significance  of  words  !  Little  things,  many  of 
them,  but  how  fraught  with  meaning !  And,  singularly 
enough,  not  unfrequently  their  import  is  in  inverse  pro- 
portion to  their  size.  "  Words  are  the  caskets  in  which  are 
preserved  forever  the  jeweled  thoughts  of  the  good  and 

93 


94  ADVANCED    ELOCUTION 

great."  The  spoken  word  is  no  less  a  casket  than  the  written. 
That  it  may  be  a  fitting  repository  of  the  jeweled  thought, 
how  careful  should  we  be  in  the  enunciation  of  our 
words. 

"  Words,"  says  Dr.  Gilbert  Austin,  "  should  be  delivered 
out  from  the  lips  as  beautiful  coins  newly  issued  from 
the  mint,  deeply  and  accurately  impressed,  perfectly 
finished."  Few  persons,  even  among  the  most  cultivated 
and  polished  speakers,  attain  to  this  high  ideal.  The 
natural  downward  tendency  in  speech  ;  the  influence  of 
careless  habits  acquired  in  childhood  and  youth ;  the 
indifference  of  the  schools ;  the  unconscious  adoption  of 
faults  current  in  the  community  in  which  we  dwell ;  the 
purposed  imitation  of  those  whose  general  scholarship 
is  acknowledged  or  whose  characters  we  admire — these 
and  many  other  influences  combine  to  render  our  pronun- 
ciation very  faulty. 

That  more  attention  is  being  given  to  the  subject  of 
Orthoepy  than  formerly  is  beyond  question.  That  the 
improvement  has  kept  pace  with  the  general  advance 
along  educational  lines  is  doubtful.  That  the  ear  as  well 
as  the  organs  of  articulation  require  special  training  in 
order  to  secure  an  accurate  and  finished  pronunciation  is 
certain.  That  the  later  lexicographers  in  this  dictionary- 
producing  age  should  incline  toward  the  looser  and  more 
careless  forms  of  pronunciation,  already  too  prevalent,  is, 
to  those  who  are  interested  in  securing  a  more  perfect 
form  of  utterance,  discouraging. 

A  careful  study  of  the  principles  and  a  diligent  practice 
of  the  exercises  found  in  the  following  pages  will  promote 
that  chaste  and  elegant  pronunciation  which  should  be 
earnestly  coveted  by  all  who  have  any  appreciation  of  the 
worth  and  beauty  and  destiny  of  the  English  language. 


VERBAL   EXPRESSION 


95 


TABLE  OF  ELEMENTARY  SOUNDS 


Vocals 

Key-Words 

Sub- 
Vocals 

Key-Words 

Aspi- 
rates 

Key-Words 

1 

a 

cane 

23 

b 

bale 

38 

f 

fill 

2 

it 

can 

24 

d 

dale 

39 

h 

hill 

3 

a 

car 

25 

g 

gale 

40 

k 

keel 

4 

a 

call 

26 

J 

jail 

41 

P 

peel 

6 

a 

care 

27 

1 

lake 

42 

S 

soil 

6 

a 

cast 

28 

m 

make 

43 

t 

toil 

7 

a 

comma 

29 

n 

nice 

44 

ch 

chop 

8 

e 

feed 

30 

r 

rice 

45 

sh 

shop 

9 

e 

fed 

31 

V 

vice 

46 

th 

think 

10 

6 

fern 

32 

w 

wet 

47 

wh 

why 

11 

i 

pine 

33 

y 

yet 

12 

I 

pin 

34 

z 

zeal 

13 

0 

note 

35 

zh 

azure 

14 

6 

not 

36 

th 

them 

15 

6 

nor 

37 

ng 

long 

16 

u 

cube 

17 

ii 

cub 

18 

li 

cur 

19 

00 

food 

20 

00 

foot 

. 

21 

oi 

oil 

22 

ou 

out 

96  ADVANCED    ELOCUTION 

ELEMENTARY  SOUNDS 
1.    THE    ALPHABET 

From  the  foregoing  table  it  will  be  observed  that  there 
are  forty-seven  sounds  in  the  English  language.  A  perfect 
alphabet  of  any  language  requires  that  it  shall  contain  as 
many  written  characters  as  there  are  sounds  in  the  spoken 
language.  Since  there  are  only  twenty-six  characters  in 
the  English  alphabet,  it  is  evident  that  it  falls  far  short  of 
being  a  perfect  alphabet.  And  when  it  is  remembered 
that  three  of  the  twenty-six  characters  (c,  q,  and  x)  are 
but  duplicate  representatives  of  sounds  that  are  better  rep- 
resented by  other  letters,  the  deficiency  becomes  still  more 
apparent. 

2.   MARKS   OF   NOTATION 

The  disparity  between  the  number  of  sounds  and  the 
number  of  letters  makes  it  necessary  for  one  letter  to  rep- 
resent several  sounds,  and,  in  other  cases,  to  combine  two 
or  more  letters  to  represent  one  sound.  It  is  this  that 
makes  our  language  perplexing  to  spell  and  to  pronounce, 
and  difficult  for  ourselves  as  well  as  for  foreigners  to  ac- 
quire. It  has  been  estimated  that  about  one-third  of  the 
school-life  of  every  child  is  wasted  in  overcoming  these 
disadvantages. 

The  letter  a,  according  to  our  table,  is  made  to  represent 
seven  different  sounds'.  This  is  accomplished  by  the  use 
of  certain  marks  placed  over  or  under  the  letter.  These 
marks  are  called  diacritical  points. 

The  macron  (-)  is  placed  over  the  vowels  a,  e,  i,  o,  u,  to 
denote  their  long  or  name  sounds.  It  is  also  placed  over 
long  00.  The  breve  (—)  is  placed  over  the  same  vowels  to 
denote  their  short  sounds.  The  diaeresis  (  •  • )  is  placed 
over  Italian  a  and  under  broad  a.  The  caret  (A)  is 
placed  over  coalescents  a,  e,  o,  u,  to  denote  their  close 


VERBAL   EXPRESSION  97 

union  with,  and  peculiar  modification  by,  r.  The  obelisk 
( -L )  is  placed  over  intermediate  a.  The  period  ( *  )  ^^ 
l^laced  over  obscure  a.  It  is  greatly  to  be  regretted  that 
lexicographers  and  orthoepists  have  not  adopted  some 
uniform  system  of  notation. 

3.   DIGRAPHS 

The  five  vowels,  with  their  various  markings,  represent 
eighteen  sounds.  The  single  consonants  also  represent 
eighteen  sounds.  The  remaining  eleven  sounds  are  rep- 
resented by  digraphs.  A  digraph  is  the  union  of  two 
written  characters  to  express  a  single  articulate  sound; 
as,  oi  in  toil,  or  sh  in  shop.  A  vowel  digraph  is  called  a 
diphthong.  The  distinctions  of  proper  and  improper 
diphthongs  are  not  essential  to  our  purpose.  The  union 
of  three  written  characters  to  express  a  single  articulate 
sound  is  called  a  trigraph ;  as,  eait  in  beau,  or  sch  in  schist. 
If  the  three  letters  are  vowels  it  is  called  a  triphthong. 

4.    SIGNS  AND  SOUNDS 

The  written  elements  or  signs  are  called  letters ;  the 
spoken  elements  are  called  sounds.  The  letters  are  di- 
vided into  vowels  and  consonants.  The  vowels  are  a,  e,  i, 
0,  u.  The  remaining  letters  of  the  alphabet  are  consonants. 
The  letter  y  often  serves  as  an  equivalent  for  i,  and  in  such 
case  it  becomes  a  vowel.  It  is  doubtful  whether  the  letter 
w  is  ever  used  alone  as  a  vowel.  Following  a,  it  gives  that 
letter  the  sound  of  broad  a ;  as  law,  paw.  Following  e,  it 
represents  the  sound  of  long  u  ;  as  new,  few.  Following  o 
it  is  either  silent,  as  in  low,  show,  or  helps  to  form  the 
sound  of  diphthong  ou,  as  in  cow,  how. 

The  sounds  are  usually  divided  into  three  groups,  which, 

by  different  writers,  are  given  various  names.    A  common 

classification  is  the  following:  vocals,  sub-vocals,  aspirates. 

The  vocals  are  represented  by  the  vowels ;  the  sub-vocals 

7 


98  ADVANCED   ELOCUTION. 

and  aspirates  by  the  consonants.  Some  writers  apply 
to  the  same  divisions  the  terms  tonics,  sub-tonics,  and 
atonies. 

On  the  basis  of  the  physical  formation  of  the  sounds, 
such  terms  as  labials,  Unguals,  dentals,  gutturals,  palatals, 
and  nasals,  are  often  employed.  It  is  assumed  that  these 
are  self-explaining,  and  are  familiar  to  all  students  of 
verbal  expression. 

5.    ELEMENTARY   SOUNDS 

The  term  "  elementary "  as  applied  to  the  foregoing 
table,  and  to  similar  tables  of  sounds,  is  very  common, 
but  it  is  well  to  note  that  it  is  not  strictly  accurate.  The 
sound  of  u  long  is  plainly  composed  of  the  sounds  of  the 
consonant  y  and  the  vowel  oo  long.  The  sound  of  i  long 
is,  in  like  manner,  composed  of  Italian  a  and  short  i. 
Every  vowel  sound  which,  in  the  making,  necessitates  a 
change  of  mouth  position,  is  diphthongal.  The  two  sounds 
i  and  it,  above  named,  are  diphthongs  as  certainly  as  oi 
and  ou.  The  sounds  of  a  long  and  o  long  are  also  diph- 
thongal. Among  the  consonant  sounds,  j  and  its  cognate 
ch  are  capable  of  further  analysis.  For  all  the  practical 
purposes  of  speech,  however,  the  table  may  safely  be  called 
a  table  of  elementary  sounds. 

6.    STANDARD    AND   CLIPPED   SOUNDS 

A  standard  sound  is  the  fullest  form  of  an  elementary 
sound.  It  is  the  completed  sound  unmodified  by  its  sur- 
roundings. A  clipped  sound  is  one  that  lacks  complete- 
ness by  reason  of  the  sound  that  precedes  or  follows  it. 
In  the  words  bay  and  cap,  standing  alone  or  at  the  end  of 
a  sentence,  the  terminal  sounds,  a  and  p,  are  standard 
sounds.  In  the  word  bacon  the  a  is  clipped,  its  vanish 
being  cut  off  by  the  k  sound  following.  In  the  sentence, 
"  This  cap  took  the  prize,"  the  sound  of  p  in  the  word  cap 


VERBAL   EXPRESSION  99 

is  clipped,  being  modified  by  the  t  sound  of  the  next  word. 
Thus  vowel  and  consonant  sounds  are  alike  subject  to 
modification  by  their  surroundings. 

7.    COGNATES 

The  term  "  cognates  "  is  applied  to  sounds  requiring  the 
same  or  nearly  the  same  mouth  positions  ;  as  /  and  v  in 
fail^  vail ;  k  and  g  in  kale^  gale ;  p  and  b  in  pale,  bale ;  s  and 
z  in  seal,  zeal ;  t  and  d  in  ton,  done  ;  ch  and  j  in  cheer,  jeer  ; 
sh  and  zh  in  Ashur,  azure  ;  th  and  th  in  thigh,  thy  ;  wh  and 
w  in  where,  ware. 

8.    LONG   AND   SHORT 

It  is  unfortunate  that  the  terms  "  long  "  and  "  short " 
should  have  been  chosen  as  names  for  certain  sounds  in 
the  table.  Much  misapprehension  has  been  occasioned 
thereby.  Many  persons  suppose  that  short  e,  for  instance, 
is  a  shortened  form  of  long  e.  As  a  matter  of  fact,  short  e 
is  often  longer  in  quantity  than  long  e.  The  same  is  true 
of  the  other  vowel  sounds  known  as  long  and  short.  As 
these  terms  are  well-nigh  universal,  however,  it  is  perhaps 
better  to  retain  them  than  to  introduce  others,  and  thereby 
increase  the  confusion  already  too  prevalent  in  the  no- 
menclature of  elocution.  By  calling  the  first  sound  a  long, 
or  long  a,  using  the  term  simply  as  a  name  for  the  sound, 
very  little  objection  can  be  made  to  the  use  of  the  term, 
but  to  speak  of  it  as  "  the  long  sound  of  a,"  as  is  too  often 
done,  is  certainly  not  to  be  commended. 

DISCUSSION  OF  THE  ELEMENTARY  SOUNDS 

1.  LONG  A 

The  sound  of  long  a,  as  in  cane,  is  most  appropriately 
represented  by  the  first  letter  of  the  alphabet,  although 
other  letters  and  combinations  of  letters  frequently  repre- 
sent the  sound.     It  is  diphthongal  when  given  its  fuU 


100  ADVANCED    ELOCUTION 

name  sound,  as  in  day^  lay,  weigh,  terminating  in  an  ob- 
scure short  i,  and  even  verging  upon  long  e  when  the  sound 
is  prolonged.  It  loses  its  diphthongal  quality  by  dropping 
the  vanish  in  such  words  as  haker,  'paper. 

2.     SHORT    A 

A  vowel  followed  by  one  or  more  consonants  is  usually 
short,  as  can,  ebb,  in,  on,  up.  Short  a  is  often  made  with  a 
harsh,  unmusical  quality  of  voice  that  should  be  studiously 
avoided. 

3.    ITALIAN   A 

The  Italian  a  as  heard  in  car,  arm,  palm,  calf,  is  one  of 
the  most  musical  vowels  in  the  language.  It  is  to  be  re- 
gretted that  the  unmusical  short  a  is  so  often  erroneously 
used  in  its  stead.  When  modified  by  r  in  words  of  more 
than  one  syllable,  it  approaches  the  sound  of  short  o. 
Compare  starry,  sorry. 

4.    BROAD    A 

The  sound  of  broad  a  as  in  call,  contributes  largely  to 
the  strength  of  our  spoken  language.  It  is  often  weakened 
by  incorrectly  substituting  short  o,  as  in  water,  coughing, 
slaughter. 

5.    COALESCENT   A 

All  sounds  are  more  or  less  modified  by  their  surround- 
ings. In  some  cases  the  modification  is  very  slight,  in 
others  it  is  very  marked.  The  sound  of  r  wields  a  great 
influence  over  the  vowels.  With  e  and  u  as  in  err,  urn,  it 
is  hardly  separable  from  the  vowel.  With  a  and  o,  as  in 
care,  orb,  the  connection  is  so  close  as  to  justify  our  using 
the  two  sounds  as  one  in  the  phonetic  analysis  of  ^vords. 

The  term  coalescent  is  here  employed  to  denote  those 
sounds  of  a,  e,  o,  and  u,  in  which  the  r  sound  blends  so 
closely  with  the  vowel  as  to  give  it  a  distinctive  sound. 


VERBAL   EXPRESSION  101 

The  sound  of  coalescent  a  is  dependent  upon  the  r  for 
its  quality.  It  is  never  heard  except  when  followed  by 
r.  The  same  is  true  of  e,  o,  and  u.  In  certain  sections  of 
the  country  the  faulty  use  of  short  a  in  carry  in  the  pro- 
nunciation of  such  words  as  care,  fare,  dare,  etc.,  prevails 
to  a  great  extent. 

The  older  orthoepists  regarded  the  a  in  care  as  long  a, 
but  the  closer  discrimination  of  the  later  phonetists 
properly  accords  to  this  sound  a  distinctive  place  in  the 
table. 

6.   INTERMEDIATE  A 

The  sound  of  a  in  cast  is  intermediate  between  short  a  in 
can  and  Italian  a  in  car.  It  occurs  chiefly  in  monosyllables 
ending  in  ff,  ft,  ss,  st,  sk,  sp,  nee,  nt,  and  in  their  deriva- 
tives. The  highest  authorities  concur  in  giving  to  this 
sound  a  distinctive  place  in  the  table  of  sounds,  but  in 
many  sections  of  the  country  the  middle  and  lower 
classes,  and  not  a  few  of  the  higher  classes,  ignore  the 
sound,  and  substitute  for  it  the  sound  of  short  a.  This  is 
to  be  deplored,  as  the  intermediate  a  is  a  softer  and  richer 
sound  than  that  of  short  a,  and  the  substitution  of  the 
faulty  sound  detracts  greatly  from  the  musical  qualities 
of  our  speech. 

7.    OBSCURE   A 

When  the  letter  a  forms  or  terminates  an  unaccented 
syllable  it  usually  takes  the  sound  of  obscure  a,  as  in 
among,  idea,  comma.  The  frequent  occurrence  of  this 
sound  and  its  uniform  character  warrants  us  in  assigning 
to  it  a  special  place  in  the  family  of  sounds.  If  generally 
adopted  by  lexicographers  its  use  would  tend  to  make 
uniform  and  consistent  much  that  is  now  quite  other- 
wise. 


102  ADVANCED   ELOCUTION 

8.   LONG   E 

Unlike  long  a,  i,  o,  and  u,  long  e  is  not  diphthongal.  11 
is  a  simple  sound,  rarely  incorrectly  made,  and  is  more 
frequently  represented  by  ee  or  ea  or  other  form  of  vowel 
digraph  than  by  e  itself. 

9.    SHORT   E 

This  is  a  simple  elementary  sound.  It  should  be  sharply 
and  neatly  struok  and  never  suffered  to  be  drawled  into  a 
semblance  of  long  a,  followed  by  slwrt  u,  as  in  fd-iid  for 
fed.  It  should  be  carefully  preserved  in  such  words  as 
solemn^  poerrij  emblem,  anthem,  and  not  allowed  to  drift  into 
the  coarser  form  of  short  u. 

10.    COALESCENT   E 

This  sound  of  e  depends  upon  the  r.  It  never  occurs  in 
English  speech  unaccompanied  by  r.  The  union  of  the 
two  sounds  is  so  close  as  to  justify  our  considering  them 
as  one  sound  in  the  work  of  phonetic  analysis.  This 
sound  should  be  carefully  distinguished  from  coalescent  u 
in  such  words  as  serge,  surge,  earn,  urn,  fir,  fur,  pearl,  purl, 
disperse,  disburse. 

The  letter  i  with  r  represents  the  sound  of  coalescent  e  in 
such  words  as  sir,  first,  firm.  The  letter  y  becomes  a  vowel 
under  the  same  conditions,  and,  like  i,  represents  coalescent 
e,  as  in  myrrh,  myrtle,  martyr. 

11.    LONG   I 

When  properly  made  this  sound  is  not  lacking  in  mu- 
sical quality,  but,  as  too  frequently  heard,  it  is  harsh  and 
discordant.  It  is  quite  diphthongal,  the  imtial  sound  being 
a  full  Italian  a  and  the  vanish  an  obscure  short  i  when 
uttered  briefly,  as  in  unaccented  syllables,  and  merges 
into  long  e  when  emphatic  or  prolonged.  This  vanish 
partakes  of  the  sound  of  consonant  y  when  the  letter  i  pre- 
cedes a  vowel,  as  in  iamb,  iota. 


VERBAL   EXPRESSION  103 

12.  SHORT   I 

This  is  one  of  the  shortest  of  the  vowels  termed  short.  In 
the  mouths  of  careless  speakers  it  is  too  often  allowed  to 
sink  into  an  obscure  form  of  short  u  in  unaccented  syllables. 
The  beauty  of  the  sound  should  be  carefully  preserved  in 
such  words  as  charity,  prettily,  beautiful,  imitate.  No  sound 
more  surely  tests  the  polish  and  refinement  of  the  culti- 
vated speaker. 

The  vowel  i  with  r  forms  a  coalescent  sound,  just  as  a,  e, 
o,  and  u  do,  but  as  the  sound  is  identical  with  coalescent  e, 
it  is  discussed  under  that  head. 

13.  LOKG  o 

This  sound  is  diphthongal,  the  vanish  being  an  obscure 
short  00,  when  unemphatic,  and  approaching  long  oo  when 
emphatic  or  prolonged. 

14.  SHORT  o 

This  is  a  simple  elementary  sound.  Like  other  sounds, 
it  is  subject  to  modification  by  its  surroundings.  When 
followed  by  d,  g,  f,  n,  ng,  and  certain  other  consonants  its 
quantity  is  prolonged,  as  in  God,  dog,  off,  on,  gone,  long. 
This  has  led  certain  orthoepists  to  give  to  this  lengthened 
form  of  the  vowel  a  special  place  in  the  table.  While 
the  consonant  modification  is  more  marked  in  the  case  of 
this  sound  than  in  most  of  the  other  vowels,  yet  it  is  not 
well  to  regard  it  as  a  separate  sound. 

Many  careless  speakers  erroneously  substitute  broad  a 
for  short  o  in  such  words  as  the  above.  • 

15.    COALESCENT   O 

This  is  the  sound  of  o  followed  by  r  as  heard  in  more, 
morn,  door,  form.  Some  of  the  dictionaries  and  many  or- 
thoepists regard  the  o  in  such  words  as  fore,  sore,  four,  soar, 
door^  words  in  which  the  vowel  is  supposed  to  be  affected 


104  ADVANCED   ELOCUTION 

by  the  terminal  e,  or  in  which  the  sound  is  represented  by 
the  digraphs  oa^  ou,  oo,  as  being  long  o,  and  the  o  in  such 
words  as  corn^  storm,  fork,  short  as  broad  a.  This  sound, 
therefore,  deserves  more  than  a  passing  notice. 

No  sound  in  the  list  of  vowels  termed  long  will  combine 
closely  with  r.  The  a  in  care,  which  the  old  orthoepists 
regarded  as  being  lo7ig  a,  is  now,  by  general  consent,  given 
a  separate  place  in  the  table.  The  e  in  see  is  not  quite 
like  the  e  in  seer,  sere,  but  the  difference  is  not  sufficiently 
great  to  warrant  our  giving  it  a  distinctive  place.  The  i 
in  higher  is  not  just  the  same  as  the  i  in  hire.  The  o  in 
mower  is  a  sharply  defined  long  o;  the  o  in  more,  by 
reason  of  the  closer  union  with  r,  is  a  much  softer  sound, 
more  easy  of  utterance,  and,  as  given  by  most  Americans, 
educated  and  uneducated,  is  sufficiently  unlike  long  o  to 
justify  us  in  assigning  it  a  special  place  in  the  community 
of  sounds. 

The  sound  of  broad  a  is  as  little  inclined  to  blend  closely 
with  r  as  is  long  a  or  long  o.  Pronounce  caw,  caicer,  corn, 
and  notice  the  modification  in  the  utterance  of  the  vowel 
of  the  third  word  due  to  the  closer  union  with  r.  The 
digraph  ou  absolutely  refuses  to  blend  with  r,  and  we  are 
compelled  to  pronounce  flour  in  two  syllables  just  as  we 
pronounce /oi(;er,  and  the  pronoun  our,  when  crowded  into 
one  syllable,  is  often  incorrectly  pronounced  like  the 
verb  are. 

Assuming  that  long  o  and  broad  a  in  the  family  of 
sounds  are  ninety  degrees  apart,  the  coalescent  o,  this  old 
sound  in. practice  but  new  in  name,  will  occupy  a  place 
about  midway  between  them,  with  a  separation  of  forty- 
five  degrees  from  each.  Having  been  duly  adopted  it 
becomes  subject  to  the  same  laws  that  govern  the  other 
sounds.  If  a  terminal  e  as  in  core,  bourne,  or  a  digraph  as 
in  soar,  pour,  causes  the  vowel  sound  to  swerve  several 
degrees  in  the  direction  of  long  o,  it  is  still  much  nearer 


VERBAL  EXPRESSION  105 

the  place  assigned  to  coalescent  o  than  to  any  other  sound, 
and  should  be  regarded  as  coalescent  o.     The  same  is  true 
of  its  modification  in  the  direction  of  broad  a.     Every  con 
sideration  prompts  the  honoring  of  this  old  sound  by 
giving  it  a  new  name. 

16.    LONG    u 

This  is  one  of  the  most  diphthongal  of  vowel  sounds. 
In  truth  its  initial  element  is  consonantal,  consisting  of 
the  sound  of  y.  Its  vanish  is  long  oo.  Both  its  initial 
and  its  terminal  element  are  subject  to  modification  by 
their  surroundings,  the  former  often  approaching  short  i 
and  the  latter  short  oo. 

Few  sounds  are  more  sadly  abused  than  long  u.  Many 
persons  never  utter  the  sound  correctly  when  it  is  preceded 
by  one  or  other  of  the  following  consonants :  d,  g,  j,  I,  n, 
s,  t,  ch,  th,  wh,  and  z.  There  are  those  who  would  regard  it 
as  an  unpardonable  offense  against  good  pronunciation  to 
hear  some  one  pronounce  beauty  as  if  spelled  booty,  and  yet 
will  themselves  pronounce  duty  as  if  spelled  dooty  a  dozen 
times  in  a  day  with  the  utmost  unconcern. 

Some  orthoepists  authorize  the  substitution  of  long  oo  for 
long  u  after  j,  Z,  and  ch  ;  but,  as,  with  a  little  practice,  it  is 
an  easy  matter  to  preserve  the  long  u  sound  in  such  situa- 
tions, this  usage  should  not  be  sanctioned.  The  only  cases 
in  which  the  letter  u  represents  the  sound  of  long  oo  are 
those  in  which  the  long  u  is  preceded  by  r,  sh,  zh,  or  iv,  as 
rude,  shute.  After  I,  and  perhaps  one  or  two  of  the  other 
consonants  above  named,  the  initial  value  of  the  long  u  is 
clipped,  the  y  element  verging  toward  shxyrt  i. 

17.  SHORT  u. 

This  is  one  of  the  easiest  sounds  in  point  of  utterance, 
and  because  of  this  fact,  becomes  the  general  reservoir  into 
which  drift  many  other  sounds  when  not  under  the  accent. 


106  ADVANCED   ELOCUTION 

The  italicized  letters  in  the  following  words  will  illustrate : 
Char-z-ty,  el-e-gy,  po-ta-to. 

The  sound  of  short  u  should  be  made  with  a  more  de- 
cided mouth  position  than  many  persons  employ.  The 
faulty  relaxed  mouth  position  produces  a  sound  resem- 
bling short  0.  It  is  heard  in  such  words  as  up,  cup,  gum, 
come,  some,  sun,  nut. 

When  short  u  is  followed  by  rr,  as  in  hurry,  curry,  fur- 
row, it  is  often  incorrectly  sounded  like  coalescent  it.  Ex- 
cept in  the  case  of  derivatives  from  words  requiring  the 
coalescent  u,  as  in  the  adjectives /^^rr^/  and  currish,  from  the 
nouns  far  and  cur,  the  u  takes  the  regular  short  sound,  in 
accordance  with  the  broad  general  rule  that  a  vowel  when 
followed  by  one  or  more  consonants  is  short.  The  faulty 
use  of  coalescent  u,  is  so  firmly  established  in  the  habit  of 
many  persons  that  much  drill  and  careful  practice  are 
necessary  to  the  correction  of  the  error. 

18.   COALESCENT  U 

This  sound  is  often  called  the  "  natural  vowel,"  because 
of  the  lack  of  effort  required  in  its  utterance.  Like  short 
u,  it  is  a  sound  toward  which  other  vowels  tend  when  not 
under  the  accent,  or  when  they  are  not  properly  guarded. 

The  coalescent  u  should  be  carefully  distinguished  from 
coalescent  e  (see  Note  10),  also  from  short  u  in  such  words 
as  curry,  hurry,  furrow,  burrow,  borough,  thorough,  currant, 
current,  currency,  hurricane,  murrain,  surrogate,  turret. 

19.    LONG   00 

This  is  a  pure  vowel  without  diphthongal  quality.  By 
many  orthoepists  the  letter  o  is  employed  in  the  table  to 
represent  the  sound,  as  in  do,  to,  move,  prove.  As  the  letter 
0  already  represents  three  sounds,  and  as  the  sound  is  more 
frequently  represented  by  oo  than  by  o,  the  digraph  oo '  is 
used  in  the  preceding  table  as  the  better  representative. 


VERBAL   EXPRESSION  107 

The  sound  of  short  oo  is  often  erroneously  substituted 
for  this  sound  in  food^  root,  roof,  room,  soon,  etc. 

20.    SHORT   00 

Many  orthoepists  employ  the  letter  u  to  represent  this 
sound,  as  in  pull,  full,  bull,  push,  bush. 

For  reasons  similar  to  those  given  in  Note  19,  the  di- 
graph 00  is  preferred  as  the  better  representative. 

21.  DIGRAPH   01 

The  vowel  digraph  oi  is  the  character  almost  uni- 
versally employed  to  represent  the  diphthongal  sound 
heard  in  such  words  as  oil,  toy.  Some  orthoepists  mark 
both  letters  in  order  to  represent  more  clearly  the  proper 
.sound.  Such  persons  as  fail  to  pronounce  correctly  the 
above  words  or  the  key-word  in  the  table,  would  scarcely 
be  assisted  by  any  system  of  marking. 

Most  orthoepists  represent  the  initial  sound  of  this  diph- 
thong as  broad  a  and  the  vanish  as  short  i.  A  close  analy- 
sis will  discover  that  the  initial  sound  is  not  so  open  as 
broad  a,  but  more  like  the  sound  of  coalescent  o. 

22.  DIGRAPH  ou 

The  unmarked  vowel  digraph  ou  is  employed  as  the 
best  representative  of  this  sound.  It  is  heard  in  such 
words  as  out,  foul,  owl,  now,  and  is  as  often  represented  in 
literature  by  ow  as  by  ou.  While  both  digraphs  are  some- 
what irregular  and  uncertain  in  their  pronunciation,  the 
ou  form  is  less  frequently  used  to  represent  other  sounds 
than  the  ow  form.  The  normal  English  sound  of  ou  is 
that  heard  in  out  when  this  word  is  properly  pronounced ; 
the  digraph  ow  as  frequently  represents  long  o  as  it  does 
the  diphthong  ou. 

Many  persons  fail  to  use  the  sound  correctly  by  making 
the  initial  element  like  short  a  instead  of  Italian  a,  its  true 


108  ADVANCED   ELOCUTION 

sound.  This  error  produces  a  harsh,  flat,  disagreeable 
sound  that  must  be  studiously  avoided  by  all  who  aspire 
to  a  cultured  and  polished  pronunciation. 

23.  B 

Instead  of  taking  up  the  consonant  sounds  in  alphabet- 
ical order,  the  sub-vocals  will  be  considered  first,  and 
afterward  the  aspirates. 

Unlike  the  vowels,  the  consonant  sounds  are  certain  and 
fixed  in  their  character.  Singly  and  in  easy  situations,  they 
are  rarely  incorrectly  sounded.  Although  much  faulty 
articulation  is  due  to  the  consonant  elements,  it  is  to  be 
ascribed  to  the  difficult  combinations  of  sounds  rather 
than  to  any  inherent  difficulty  in  the  individual  sound. 

The  organs  of  speech  find  difficulty  in  passing  rapidly 
from  one  extreme  consonant  position  to  the  next,  hence, 
often  unconsciously,  sounds  are  slighted  or  omitted,  or 
easier  but  incorrect  sounds  are  substituted. 

The  sound  of  h  in  its  physical  formation  is  very  similar 
to  that  of  m.  As  an  individual  sound  it  is  often,  by  be- 
ginners, confounded  with  the  m  sound.  The  distinction  is 
easily  understood,  and,  with  a  little  careful  practice,  is 
easily  made. 

In  making  the  sound  of  m  breath  escapes  through  the 
nostrils.  The  m  belongs,  therefore,  to  the  class  of  sounds 
called  nasals.  In  the  sound  of  h  no  breath  escapes  through 
either  nose  or  mouth,  hence  the  sound  cannot  be  prolonged 
to  any  great  extent.  The  student  may  be  assisted  in  dis- 
tinguishing between  the  sounds  of  b  and  m  by  having  him 
grasp  the  nose  firmly  with  the  thumb  and  first  finger  so  as 
to  prevent  the  escape  of  breath.  The  resultant  sound 
must  be  that  of  b. 

The  vanish  of  6  is  a  very  slight  sound  of  p.  The  force 
of  the  b  sound  should  be  applied  to  the  initial  and  not  to  the 
vanishing  element.     Caution  should  be  observed  not  to 


VERBAL   EXPRESSION  109 

terminate  the  sounds  of  h,  d,  g,  or  any  other  consonant 
sounds  with  an  obscure  short  u  as  huh^  duh,  guh. 

Few  persons  are  able  to  give  the  sound  of  b  with  as 
much  power  as  is  demanded  in  certain  situations.  The 
development  of  power  is,  therefore,  important.  To  this 
end  let  the  student  utter  a  list  of  short  words  beginning 
with  by  as  boy,  bay,  book,  bin,  or  arrange  drill  exercises  like 
ba,  be,  bi,  bo,  bit,  giving  in  each  instance  as  much  powder 
and  length  to  the  b  element  as  possible. 

24.  D 

The  sound  of  d  bears  nearly  the  same  relation  to  n  that 
b  bears  to  m.  Much,  therefore,  that  was  said  in  the  last 
note  will  apply  here.  The  vanish  of  d  is  a  very  slight 
sound  of  t. 

Be  sure  to  develop  sufficient  power  in  the  making  of  the 
b  and  d  sounds  to  enable  them  to  be  distinctly  heard  in 
difficult  situations.  In  such  words  as  sands,  mends,  finds, 
ponds,  sounds,  the  d  is  often  slighted,  and  sometimes 
entirely  omitted. 

25.  G 

The  guttural  g  bears  much  the  same  relation  to  the 
nasal  ng  that  b  bears  to  m  and  d  to  n.  It,  too,  is  often 
lacking  in  power,  and  should  be  strengthened  by  judicious 
exercises.  The  vanish  of  (/  is  a  slight  sound  of  k.  (See 
Notes  23  and  24.) 

26.  J 

The  sound  of  j  is  not  strictly  elementary.  The  initial 
element  is  a  clipped  d  and  the  vanish  is  zh,  the  sound 
heard  in  azure,  measure,  rouge. 

27.  L 

The  I  is  a  musical  consonant,  and,  on  account  of  the 
smoothness  of  its  flow,  is  often  called  a  liquid.     Unlike 


no  ADVANCED   ELOCUTION 

most  of  the  other  consonants,  it  is  capable  of  forming  a 
syllable  by  itself,  as  in  epistle,  the  t  and  e  being  silent. 

28.  M 

The  nasal  m  is  one  of  the  easiest  sounds  to  utter,  and  is 
rarely  incorrectly  made.  When  followed  by  h  or  n  in  the 
same  syllable,  it  usually  renders  those  letters  silent,  as  in 
lamb,  condemn. 

29.  N 

The  nasal  n  is  also  easy  of  utterance,  and  presents  no 
difficulties  to  the  ordinary  student. 

30.  R 

The  most  autocratic  member  of  the  kingdom  of  sounds 
is  r.  Che  influence  of  this  sound  is  well-nigh  imperial. 
No  other  consonant  affects  the  vowel  sounds  to  the  ex- 
tent that  the  r  does.  It  will  not  follow  long  a  nor  long 
0.  Even  when  it  follows  long  e  and  long  i  it  steals  their 
sharp  edge,  as  in  sere,  hire.  Placed  before  long  u,  it  in- 
stantly changes  that  sound  to  long  oo,  as  in  rude,  which  is 
pronounced  like  rood. 

The  sound  of  r  is  often  difficult  for  beginners  in  pho- 
netics. It  is  easily  distinguished  by  prolonging  and  lis- 
tening to  the  last  sound  in  the  word  sir. 

When  r  precedes  a  vowel  it  should  be  trilled  ;  when  it 
follows  a  vowel  it  should  be  smooth.  The  degree  of  the 
trill  is  governed  by  the  character  of  the  sentiment.  In 
bold,  impassioned  utterance,  and  in  all  forms  of  digni- 
fied discourse,  the  trill  should  be  quite  decided ;  in  simple 
narration  and  plain  description,  and  in  the  lighter  con- 
versational forms,  it  should  be  less  marked.  The  trilled  r 
is  sometimes  called  the  rolled  r  or  the  vibrant  r.  Oliver 
Wendell  Holmes,  in  his  Words  on  Language,  calls  it  the 
British  r.  The  English,  Scotch,  and  Irish  use  the  trilled 
r  much  more  than  the  Americans  do,  and  in  some  of  the 


VERBAL  EXPRESSION  111 

European  languages  it  is  quite  a  prominent  feature.  The 
speech  of  most  Americans  would  he  improved  by  a  larger 
use  of  the  trilled  r. 

In  many  sections  of  the  South  the  r  is  slighted,  and  in 
some  instances  entirely  omitted  where  it  should  be 
sounded,  as  in  care,  hear,  sire,  more,  sure,  poor. 

Many  Americans  have  difficulty  in  producing  the  trilled 
r,  especially  where  it  is  the  first  sound  of  the  word,  or  when 
it  is  preceded  by  d,  as  in  rate,  drew.  Such  persons  may 
find  assistance  in  a  drill  exercise  upon  words  beginning 
with  th,  as  in  a  vigorous  utterance  of  such  words  as  three, 
thrice,  thrall,  thrash,  thread,  threat,  thrift,  thrill,  thrive,  throat, 
throb,  throng,  throne,  thrush,  through. 

31.  V 

The  sound  of  v,  the  cognate  of/,  is  a  simple  elementary 
sound,  and  usually  given  correctly.  The  escaping  breath 
should  be  thoroughly  vocalized  and  the  sound  uttered 
with  due  force. 

32.  w 

This  sound  approaches  very  closely  to  that  of  long  oo. 
By  prolonging  a  word  like  we  and  holding  the  initial 
sound,  we  are  enabled  to  distinguish  its  peculiar  quality. 
That  it  is  not  identical  with  long  oo  is  evident  in  the  pro- 
nunciation of  woo,  in  which  the  change  of  the  very  close 
mouth  position  of  w  to  the  more  open  position  of  long  oo 
is  quite  manifest.  By  some  orthoepists  the  w  sound  is 
regarded  as  semi- vowel.  Like  /  and  r,  it  certainly  partakes 
more  of  the  character  of  a  vowel  than  do  the  other  con- 
sonants. Although  it  is  vowel-like,  it  never  performs  the 
functions  of  a  vowel. 

33.  Y 

The  letter  y  represents  both  a  vowel  and  a  consonant 
sound.     The  vowel  sound  is  heard  in  such  words  as  by, 


112  ADVANCED   ELOCUTION 

myth^  myrrh^  and  as  a  vowel  it  is  simply  an  equivalent  for 
the  vowel  i.  Its  consonant  sound  is  heard  in  yet,  you,  yore. 
The  consonant  y  partakes  slightly  of  the  vowel  character, 
and  approximates  the  sound  of  long  e.  The  distinction 
between  them  is  noticeable  in  the  prolonged  utterance  of 
the  pronoun  ye,  holding  the  y  and  also  the  e. 

34.  z 

The  sound  of  z  is  often  represented  by  the  letter  s,  and 
sometimes  by  c  and  x  as  in  flays,  wise,  suffice,  Xei^xes.  It  is 
softer  and  more  musical  than  its- cognate  s,  and  is  some- 
times employed  to  prevent  a  repetition  of  the  unpleasant 
sibilant,  as  in  gases,  misses,  blesses, 

35.  ZH 

The  digraph  zh  presents  an  anomaly.  It  is  doubtful 
whether  the  combination  zh  is  ever  employed  in  any 
legitimate  English  word  to  represent  the  sound  commonly 
called  the  zh  sound.  It  is  most  frequently  represented  by 
the  letter  s,  as  in  measure,  leisure,  fusion ;  sometimes  by  z,  as 
in  azure ;  and  occasionally  by  g,  as  in  rouge. 

36.  TH 

The  vocalized  <^,  like  some  of  the  other  weaker  sounds, 
needs  strengthening  by  special  drill  exercises.  The  vig- 
orous utterance  of  words  beginning  with  this  sound,  as 
this,  that,  them,  there,  these,  etc.,  will  be  found  helpful. 

Many  words  are  mispronounced  even  by  educated 
people,  by  substituting  the  aspirate  th  for  the  sub-vocal, 
as  with,  beneath,  bequeath,  booth. 

37.    NG 

The  sound  of  this  nasal  digraph  is  represented  by  ng 
at  the  end  of  a  word,  as  song,  long,  and  by  n  followed  by 
h  or  g,  as  in  ink,  8a.nk,  fin-ger,  Ion  ger,  when  in  the  middle 
of  a  word.     It  is  never  employed  to  begin  an  English  word. 


VERBAL   EXPRESSION  113 

38.  F 

This  den  to-labial,  the  first  in  the  order  of  the  list  of  as- 
pirate sounds,  is  of  easy  utterance.  It  is  often  represented 
by  'ph  as  in  phrase,  phlegm,  and  sometimes  by  gh,  as  in 
tough,  cough,  laugh. 

39.  H 

This  can  scarcely  be  called  a  sound.  It  is  a  mere 
breathing,  sometimes  light  and  sometimes  strong,  and,  when 
sounded,  always  precedes  a  vowel.  It  changes  mouth 
position  with  every  change  of  vowel  that  follows.  As  a 
representative  sound,  that  is  probably  best  which  is  heard 
when  the  h  is  followed  by  Italian  a,  as  in  ha. 

40.  K 

The  explosive  aspirate  k  is  greatly  modified  by  its  sur- 
roundings. The  fullest,  and  therefore  the  best  form  as  a 
standard  k  sound  is  that  which  is  heard  at  the  end  of  a 
word,  as  back,  iveek,  like.  It  is  frequently  preceded  by  silent  c 
as  in  tack,  check,  sick,  knock,  luck. 

Its  clipped  form  is  most  noticeable  in  such  words  as  act, 
looked,  raked,  in  which  the  terminal  t  sound,  by  its  close 
union  with  k,  necessitates  the  omission  of  the  vanish  of  the 
latter  sound.  In  such  words  as  the  above  the  presence  of 
the  k  sound  is  more  apparent  in  the  k  modification  of  the 
preceding  vowel  than  in  any  discernible  sound  of  k  itself. 
The  only  audible  part  of  the  sound  in  any  situation  is  that 
produced  by  the  puff  of  breath  following  upon  the  break- 
ing of  the  contact  of  the  tongue  with  the  roof  of  the 
mouth.  In  such  words  as  the  above  the  k  closure  is 
merged  into  the  t  closure,  the  tongue  rolls  along  the  roof 
of  the  mouth  from  the  point  of  k  contact  to  the  point  of  t 
contact,  and  the  explosion  is  heard  as  t  and  not  as  k. 

The  sound  of  k  is  often  represented  by  c,  both  initial 
and  terminal,  as  cat,  lac,  and  sometimes  by  ch,  gh,  and  q,  as 
in  chasm,  hough,  coquette. 
8 


114  ADVANCED   ELOCUTION 

41.  P 

The  sound  of  p  is  an  explosive  aspirate,  and  as  a  stand- 
ard sound  should  be  given  with  more  abruptness  and  with 
less  of  that  audible  expulsion  of  breath  than  is  commonly 
heard. 

Much  that  is  said  of  clipped  k  in  the  previous  note 
will  apply  to  clipped  p.  The  student  is  therefore  referred 
to  Note  40. 

42.  s 

Few  consonant  sounds  are  made  by  different  persons  in 
such  a  variety  of  ways  as  the  sound  of  the  effusive  aspi- 
rate s.  If  any  one  will  take  the  pains  to  listen  to  the  s's  of 
the  first  fifty  persons  he  meets  he  will  be  convinced  of  the 
truth  of  this  statement.  Some  make  the  s  like  the 
sound  of  the  escaping  steam  from  a  locomotive  engine ; 
some  make  it  to  sound  like  the  soughing  of  the  winds 
through  the  trees ;  and  others  make  so  thin  an  s  that  it 
becomes  almost  a  lisp ;  and  still  others  make  it  so  sharp 
that  it  sounds  more  like  an  attempt  to  whistle  than  an 
element  of  articulate  speech.  It  is  difficult  to  describe 
what  constitutes  a  really  good  s  sound,  but  by  carefully 
avoiding  the  above  faults,  and  seeking  to  find  a  good  model 
for  imitation  the  ear  will  serve  as  a  trustworthy  monitor 
and  a  reliable  guide.  In  fact,  there  is  nothing  more  im- 
portant in  the  whole  study  of  phonetics  than  a  diligent 
cultivation  of  the  ear.  A  thoughtful  attention  to  the 
quality  of  the  voice  and  the  forms  of  articulate  speech  as 
heard  in  the  usage  of  the  people  we  meet,  a  careful  com- 
parison of  voice  with  voice  and  sound  with  sound,  a  pur- 
pose to  have  a  mind  quick  to  receive  impressions,  will,  in 
a  little  while,  result  in  an  educated  ear,  and  a  greatly  im- 
proved habit  of  speech,  even  without  a  teacher. 

The  frequent  occurrence  of  the  s  sound,  which,  at  best, 
is  not  a  pleasing  sound,  and  which,  as  too  often  made, 


VERBAL   EXPRESSION  115 

becomes  doubly  objectionable,  renders  it  a  subject  for 
careful  study.  Foreigners  say  of  our  speech  that  it  re- 
sembles the  hissing  of  a  flock  of  geese.  This,  and  other 
well-founded  criticisms  often  made  by  those  who  speak 
the  softer  languages  of  Southern  Europe,  might  in  a  large 
measure  be  avoided  by  due  attention  to  the  musical  prop- 
erties of  our  tongue. 

While  the  letter  s  is  the  best  representative  for  the 
sound,  and  the  one  most  frequently  employed,  the  letter 
c  often  represents  it  also,  and  z  upon  rare  occasions.  The 
latter  part  of  x  is  generally  sounded  as  s  when  followed  by 
a  consonant,  and  often  when  followed  by  a  vowel,  as  ex- 
tentj  expense,  execrate,  exigency. 

43.  T 

The  explosive  aspirate  t  should  be  given,  as  a  standard 
sound,  with  the  same  abruptness  as  was  suggested  in  the 
discussion  of  p.     (See  Note  41.) 

Like  k  it  is  greatly  modified  by  its  surroundings.  When 
closely  followed  by  a  consonant  the  vanish,  or  explosive 
part,  is  lost  in  the  next  sound.     (See  Note  40.) 

44.  CH 

The  explosive  digraph  ch,  as  in  chirij  is  not  strictly 
elementary,  being  equivalent  to  tsh.  In  many  cases  the  t 
precedes  the  ch,  rendering  that  digraph  equivalent  to  sh,  as 
match,  fetch,  pitch,  botch,  crutch.  In  some  cases  the  t  is 
omitted,  but  the  sound  of  the  remaining  ch  is  the  same  as 
tch  in  the  above  words,  as  such,  rich,  inch,  bachelor. 

The  digraph  ch  represents  the  sound  of  k  in  chasm, 
chaos,  chorus,  chronic,  and  the  sound  of  sh  in  chaise,  chi' 
canery,  chevalier,  charlatan. 

45.  sH 

The  digraph  sh,  as  in  shun,  represents  an  elementary 
sound  of  easy  utterance.     The  sound  is  represented  by  s, 


116  ADVANCED    ELOCUTION 

as  in  sure,  by  ti  in  option^  by  ci  in  coercion,  by  si  in  conver- 
sion, and  ch  in  chivalry. 

46.    TH 

The  sound  of  ^/i,  as  in  thin,  is  an  elementary  sound  pre- 
senting no  difficulty  to  the  English  or  American  mouth, 
but,  like  its  cognate,  the  vocal  th,  furnishing  a  serious 
stumbling  block  to  the  foreigner.  With  s  following, 
it  presents  a  difficult  combination  even  for  the  person 
whose  native  tongue  is  the  English.  Pronounce  lengths ^ 
breadths,  widths,  depths,  or  the  numerals,  fourths,  fifths,  sixths, 
etc.  Most  persons  come  short  of  an  easy  and  perfect 
utterance  of  these  words.  The  th  sound,  as  a  rule,  needs 
to  be  strengthened  and  preserved  from  the  encroachment 
of  the  s.  A  proper  proportion  of  quantity  and  force  upon 
the  several  sounds  of  these  and  similar  words  is  rarely 
heard. 

47.  WH 

The  digraph  wh,  as  in  when,  may  be  said  to  consist  of 
the  h  sound  forced  through  the  w  mouth.  It  is  not  thor- 
oughly elementary.  Just  before  passing  to  the  vowel  that 
follows,  the  acute  ear  will  be  able  to  discover  the  interven- 
tion of  a  slight  w  sound  unmixed  with  h.  There  is  noth- 
ing gained,  however,  by  a  transposition  of  the  letters  as 
represented  by  some  dictionaries.  To  an  English-speaking 
person  the  usual  order,  wh,  will  suggest  the  sound  more 
quickly  than  hw,  and  the  foreigner  would  not  get  the 
sound  from  either  arrangement  without  assistance. 


While  the  letters  c,  q,  and  x  are  not  found  in  the  pre- 
ceding table,  and  are  not  necessary  to  the  representation 
of  the  elementary  sounds  of  the  English  language,  they 
are,  nevertheless,  of  such  frequent  recurrence  as  to  justify 
some  reference  to  them. 


VERBAL   EXPRESSION  117 

The  letter  c  represents  at  least  five  different  sounds,  as 
shown  in  the  Table  of  Consonant  Symbols  on  page  122. 

The  letter  q  in  English  words  is  always  followed  by  u^  and 
the  two  letters  represent  the  sounds  of  kw^  as  in  quick^ 
queer^  quiet.  In  words  of  French  origin  the  u  ox  w  sound 
is  lost,  as  in  bouquet^  coquette.  In  the  name  of  the  French 
naturalist,  Lecoq^  the  q  is  unaccompanied  by  the  u. 

The  student  who  is  looking  for  convenient  contractions 
will  find  good  material  in  the  letter  q.  Such  spellings  as 
qeer,  qenchj  qlet,  though  appearing  a  little  strange  to  the 
eye,  would  scarcely  be  mispronounced,  for  the  mind 
naturally  associates  the  letter  u  with  q,  and  the  w  sound 
would  at  once  be  suggested. 

In  the  letter  x  we  already  have  a  convenient  contraction. 
Except  when  employed  as  the  initial  letter,  as  in  xebec, 
it  invariably  represents  two  sounds.  In  tax,  vex,  six  the 
letter  x  represents  the  sound  of  k  and  s.  In  exact,  ex- 
aggerate, exaltj  existy  exert,  exonerate,  exult,  and  in  nearly  all 
cases  where  the  prefix  ex  is  followed  by  an  accented  vowel 
the  letter  x  represents  the  sounds  of  g  and  z.  If  followed 
by  a  consonant,  x  takes  the  sound  of  ks,  as  in  expel,  extin- 
guish, exchange.  AVhen  followed  by  accented  long  u,  as  in 
exude,  orthoepists  differ.  Some  follow  the  above  rule  and 
sound  the  x  like  gz ;  others  remembering,  doubtless,  that 
long  u  begins  with  the  sound  of  consonant  y,  sound  the  x 
like  ks.  In  such  words  as  exhaust,  exhibit,  exhort,  in  which 
the  letter  h  intervenes  between  the  prefix  ex  and  the  ac- 
cented vowel,  X  generally  represents  the  sound  of  gz. 
This  is  in  accordance  with  the  rule  when  h  is  made  silent. 
Even  those  orthoepists  who  sound  the  h  usually  make  the 
X  like  gz.     In  luxury  the  x  is  equivalent  to  ksh. 

Other  convenient  contractions  are  found  in  j,  ch,  and  long 
u.  The  equivalent  for  j  is  dzh;  for  ch  is  tsh;  and  for 
long  u  is  yoo. 


118  ADVANCED   ELOCUTION 


EQUIVALENTS 

The  table  of  elementary  sounds  presented  on  page  95, 
furnishes  what  seems  to  be  the  simplest  and  best  repre- 
sentative character  for  each  of  the  forty-seven  sounds  of 
the  language.  It  also  gives  as  key-words  for  the  several 
sounds  such  words  as  are  familiar  to  everybody  who  has 
any  knowledge  of  the  English  tongue,  and  the  pronun- 
ciation is  as  uniform  and  unvarying  as  that  of  any  words 
that  could  be  selected. 

It  remains  to  show  what  other  letters  and  combinations 
of  letters  are  often  employed  to  represent  the  same  sounds. 
Such  substitutes  are  appropriately  called  equivalents. 

TABLE  OF  PHONETIC  EQUIVALENTS 
VOWEL  EQUIVALENTS 

a  maelstrom,  aid,  gaol,  gai^ge,  lay^  aye^  le,  great,  melee, 
eh,  rein,  obey,  bouqi^^. 

3.    Isaac,  plaid,  gt^arantee. 

a    bazaar,  hawnt,  sergeant,  heart,  gitard. 

a     sauce,  law,  broad,  sot^ght. 

'k    ^aron,  fair,  -prayer,  there,  pear,  e'er,  heir,  eyre. 

a     drai^ght. 

a     Savannah. 

e  Caesar,  eat,  feet,  seize,  people,  key,  pique,  field,  oesopha- 
gus, qtiay,  Portugitese,  turquoise. 

&  any,  diaeresis,  said,  says,  bread,  heifer,  leopard,  friend, 
(Edipus,  bury,  guess. 

d    dearth,  sir,  guerdon,  m?/rrh. 

i    aisle,  aye,  height,  eye,  vie,  choir,  guile,  huy,  hy. 

i  certain,  English,  beaufin,  been,  foreign,  donkey/,  car- 
riage, sieve,  women,  tortoise,  busy,  build, 
plaguy/,  n^/mph. 

6  Pharaoh,  mauve,  bean,  yeoman,  sew,  load,  hoe,  soul, 
grow. 


VERBAL   EXPRESSION  119 

6  what,  lough,  know;ledge. 

6  extraordinary,  George,  board,  door,  po^^r. 

u  beauty,  neitter,  iew,  lieu,  view,  your,  cue,  suit 

a  dungeon,  gorgeous,  cushion,  son,  does,  porpoise,  blood, 
toi^ch,  galloM;s. 

ti  worm,  cupboard,  journey. 

uo  caoutchouc,  iheum,  grew,  do,  shoe,  manceuvre,  group, 

rude,  true,  fruit. 

00  wolf,  would,  pull, 

oi  bourgeois,  toy, 

ou  Macleod,  now;. 

CONSONANT  EQUIVALENTS 

b  ebb 

ch  violoncello. 

d  6dellium,  Sidd. 

f  Isiugh,  phase,  sappMre,  sta^. 

g  ^99j  ghost, 

j  ^em,  exa^^erate. 

k  can,  chsism,  mock,  hough,  khan,  ^ueen. 

1  mill,  kiln. 

m  dr&chm,  apothegm,  num6,  crammed,  limn. 

n  ^ruash,  ^nee,  mnemonics,  jjneumonia,  Ann. 

ijg  hancZkerchief,  ink. 

p  hiccou(//i,  napMha. 

r  purr. 

8  cede,  psalm,  schism,  science,  waltz, 

sh  ocean,  chaise,  social,  psha.w,  schist,  conscience,  mission, 
sure,  position. 

t  askec?,  ptisan,  phthisiCj  thyme. 

th  phthisis,  M.a.tthew. 

V  of,  Stephen, 

w  zouave,  guano. 

y  onion,  hallelujah,  surveiHance. 

z  suffice,  has,  raspberry,  JTerxes. 

zh  rou^e,  bijoutry,  measure,  abscission,  transition,  azure. 


120  ADVANCED   ELOCUTION 

It  will  be  noticed  that  h  and  the  digraphs  wh  and  vocal 
th  have  no  equivalents.  When  these  sounds  are  needed 
these  letters  are  themselves  present  to  represent  them.  It 
will  also  be  observed  that  many  of  the  letters  in  the  com- 
binations marked  as  equivalents  are  silent  letters,  and 
perfectly  useless  so  far  as  the  pronunciation  is  concerned. 
Instead  of  assisting  in  determining  the  pronunciation 
they  often  constitute  a  hindrance.  The  a  in  aisle^  the  e  in 
foreign^  the  i  in  plaid,  the  o  in  leopard^  and  the  it  in  build, 
can  scarcely  be  said  to  aid  in  the  pronunciation  of  these 
words.  The  b  in  bdellium,  the  h  in  ghost,  the  ch  in  drachm, 
the  p  in  raspberry,  are  equally  useless.  In  phonetic  analy- 
sis such  letters  should  be  regarded  as  silent,  and  not  essen- 
tial to  the  representation  of  the  sound.  A  rigid  table  of 
equivalents  would  exclude  all  such  combinations  as  are 
composed  in  part  of  silent  letters,  and  retain  only  those 
words  where  letters  are  necessary  to  represent  the  equiva- 
lent sound,  as  a  in  what,  e  in  there,  i  in  pique,  o  in  son,  u  in 
busy,  ch  in  chasm,  gh  in  hough,  ph  in  phase. 

The  fuller  table,  as  presented  above,  may  have  its  uses, 
however,  in  showing  the  inconsistencies  of  English  orthog- 
raphy and  the  need  of  an  improved  mode  of  spelling. 

The  above  table,  which  shows  the  various  letters  and 
combinations  of  letters  employed  to  represent  the  same 
sound,  would  hardly  be  complete  without  a  supplementary 
table  showing  the  various  sounds  represented  by  the  same 
symbol.  This  table  is  given  on  the  next  two  pages,  and 
furnishes  a  strong  argument  in  favor  of  the  Spelling  Re- 
form movement. 


VERBAL   EXPRESSION  121 


TABLE  SHOWING  THE  SEVERAL  SOUNDS  REPRE- 
SENTED BY  THE  SAME  SYMBOL 

VOWEL   SYMBOLS 

a  cane,  can,  car,  call,  care,  cast,  comma,  any,  what, 

aa  j4aron,  Isaac,  salaam, 

ae  maelstrom,  Cccsar,  diaeresis, 

ai  aid  J  plaid,  fair,  said,  aisle,  captain, 

ao  gaol,  Pharaoh,  extraordinary, 

au  gauge,  lai^nch,  sauce,  draught,  haittboy. 

ay  ha?/,  aije  (yes),  prayer,  saya,  quay. 

e  mgte,  met,  her,  re,  sergeant,  there,  JS'nglish. 

ea  great,  sergeant,  heart,  bear,  heat,  bread,  dearth, 

eau  beat^,  beauty,  beaufin. 

ee  meet,  melee,  e'er,  been, 

ei  vein,  heir,  seize,  heifer,  height,  foreign, 

eo  people,  leopard,  feod,  yeomen,  George,  dungeon,  Mac- 

leod. 

ew  new,  seiv,  grew. 

ey  they,  eyre,  key,  eye,  vaonkey, 

i  pine,  pin,  sir,  pique, 

ie  field,  friend,  vie,  sieve. 

ii  Pompeii,  Hawaii, 

io  cushion,  onion. 

o  note,  not,  nor,  woman,  women,  do,  son,  wor. 

oa  boat,  broad,  board,  cupboard, 

oe  oesophagus,  (Edipus,  goes,  does,  shoes, 

oi  oil,  choir,  tortoise,  porpoise. 

00  food,  foot,  door,  poor,  blood, 

ou  foimd,  group,  sought,  soul,  pour,  your,  lough,  touch, 

journey,  could,  zouave, 

ow  now,  grow,  knowledge,  galloivs. 

u  cube,  cub,  cur,  bury,  husy,  rude,  pzdl. 

ua  assuage,  guaranty,  guard,  quay,  guano. 


122  ADVANCED   ELOCUTION 

ue  bouqrt^t,  Toriuguese,  guess,  guerdon,  ewe,  true, 

ui  gitile,  guild,  suit,  fruit, 

uy  buy,  plaguy. 

CONSONANT   SYMBOLS 

c  cat,  cent,  suffice,  ocean,  violoncello, 

eh  c/iin,  chasm,  c/iaise. 

d  day,  asked. 

f  /ine,  of. 

g  (70,  ^rem,  rou^re. 

gh  laxigh,  lough,  ghost. 

j  jest,  bijou,  haMelujah. 

1  let,  surveillance. 

n  not,  ink. 

ph  phisil,  Stephen,  naphtha, 

qu  gueen,  guay. 

r  thrill,  far. 

8  silk,  was,  sure,  leisure, 

sch  scMsm,  schist,  sci^ool. 

si    conversion,  intrusion. 

t     <one,  negodate. 
th     thin,  them,  thyme. 

ti     position,  transition. 

X    taa:,  a;iphias,  exist,  luxury. 

y    yes,  hy,  myth,  myrrh. 

s     zone,  azure,  waltz. 


VERBAL   EXPRESSION 


123 


UNUSUAL   SOUNDS 

In  the  speech  of  many  persons,  educated  and  uneducated, 
the  sounds  of  intermediate  a  and  coalescent  e  are  never 
heard.  Intermediate  a  is  found  chiefly  in  monosyllables 
ending  in  ff^ft,  ss,  st,  sk,  sp,  nee,  and  nt,  and  in  their  deriva- 
tives. The  following  list  of  words,  if  frequently  and  care- 
fully practiced  under  proper  guidance,  will  serve  to  estab- 
lish the  correct  use  of  a  very  beautiful  and  musical  sound : 


quaff 

mass 

pasture 

hasp 

staff 

pass 

plaster 

rasp 

abaft 

lass 

cast 

advance 

aft 

grass 

vast 

answer 

after 

glass 

repast 

chance 

craft 

class 

forecast 

dance 

draft 

blast 

ask 

enhance 

draught 

fast 

bask 

glance 

graft 

bombast 

basket 

lance 

haft 

contrast 

cask 

prance 

raft 

disaster 

casket 

trance 

rafter 

aghast 

flask' 

ant 

shaft 

ghastly 

mask 

chant 

waft 

last 

task 

grant 

amass 

mast 

asp 

pant 

surpass 

mastiff 

clasp 

slant 

alas 

past 

grasp 

blanch 

brass 

pastor 

gasp 

branch 

A  skillful  use  of  the  coalescent  e  contributes  much  to  the 
elegance  and  polish  of  a  speaker's  diction.  This  sound  is 
made  in  the  front  part  of  the  mouth,  and  with  a  mouth 
position  approaching  chat  of  short  e.  The  coalescent  u, 
which  is  too  often  confounded  with  it,  is  a  deeper  sound, 
more  guttural*  and  is  made  with  projected  lips. 


124 


ADVANCED   ELOCUTION 


In  the  effort  to  avoid  the  coalescent  u  the  student  is  apt 
to  fall  into  the  habit  of  making  coalescent  a.  The  annexed 
exercise  will  be  helpful.  Read  across  the  page  thus :  /mr, 
fir,  fur.  Then  repeat  the  line  backward,  fur,  fir,  fair.  Do 
not  suffer  any  word  to  encroach  upon  the  orthoepic  prov- 
ince of  its  neighbor. 

dr  ir  Hr 

fair  fir  fur 

bairn  earn  urn 

pair  pearl  purl 

Baird  bird  burred 

Sayre  serge  surge 

The  following  words  will  furnish  additional  practice : 


berth 

her 

perfect 

sir 

certain 

herb 

perfume 

skirt 

certify 

herd 

perhaps 

smirk 

circle 

hermit 

permit 

sperm 

circuit 

hearse 

perplex 

squirm 

clerk 

hirsute 

person 

stern 

deartl 

jerk 

perspire 

stir 

dirge 

Jersey 

persuade 

superb 

dirt 

kernel 

pervert 

submerge 

earth 

kersey 

quirk 

term 

earn 

learn 

refer 

terminal 

earnest 

merchant 

reverse 

tern 

ermine 

mercy 

rehearse 

terse 

erse 

merge 

reserve 

thermal 

ferment 

mermaid 

search 

thermometer 

fervid 

mirth 

serf 

third 

firm 

myrrh 

sermon 

thirst 

first 

myrtle 

serpent 

thirty 

germ 

nerve 

service 

universe 

germinate 

nervous 

shirk 

verb 

gherkin 

perch 

shirr 

verbal 

VERBAL   EXPRESSION  125 


verdant 

vernal 

vertex 

whirl 

verbose 

verse 

virtue 

whirlwind 

verge 

version 

were 

yearn 

The  next  four  sounds  to  be  considered  (a,  d,  u,  u)  cannot 
be  regarded  in  a  general  sense  as  unusual,  but  under  cer- 
tain conditions  other  sounds  are  frequently  incorrectly 
substituted  for  them. 

Italian  a,  when  followed  by  r  and  another  consonant,  as 
in  arm,  barb,  card,  harm,  yarn,  is  usually  correctly  sounded, 
but  when  not  accompanied  by  r,  the  short  a  is  often  incor- 
rectly used  instead  ;  as  in  balm,,  calm,  palm,  psalm,  qualm,  calf, 
half,  ha,  wrath,  aunt,  daunt,  dauntless,  flaunt,  gaunt,  gauntlet, 
jaunt,  haunt,  taunt,  launch,  staunch,  haunch,  salve,  halve,  bath, 
path,  wrath,  gape,  laugh,  laundry,  jaundice,  mustache.  Their 
derivatives  take  the  same  sound. 

The  sound  of  short  o,  when  followed  by  g,  n,  ng,ff,ft,  ss, 
st,  is  often  incorrectly  sounded  like  broad  a ;  as  in  log,  dog, 
hog,  fog,  on,  gone,  long,  prong,  song,  strong,  thong,  throng,  off, 
coffee,  soft,  loft,  croft,  loss,  inoss,  cross,  lost,  cost. 

Some  orthoepists  give  to  o  in  such  words  as  the  above  a 
distinct  place  in  the  table,  but  the  propriety  of  so  doing  is 
questionable  since  the  modification  is  no  greater  than 
other  vowels  are  subject  to,  and  there  is  no  physical  diffi- 
culty in  forming  a  close  union  ot  the  short  o  with  the  con- 
sonant following  it. 

The  sound  of  long  u,  when  preceded  by  d,  g,  j,  I,  n,  s,  t, 
ch,  th,  wh,  z,  is  frequently  incorrectly  changed  to  long  oo  ; 
as  in : 


deuce 

duel 

gewgaw            June 

dew 

duet 

gubernatorial  July 

dual 

duke 

jew                    jury 

dubious 

dupe 

jewel                 juvenile 

ducal 

durable 

jubilee              junior 

due 

duty 

juice                 juniper 

126 


ADVANCED   ELOCUTION 


lubricate 

new 

stupendous 

Tuesday 

lucid 

nucleus 

stupid 

tuition 

lucrative 

nuisance 

sue 

tulip 

ludicrous 

numeral 

suicide 

tumult 

luminous 

nutriment 

suit 

tune 

lunacy 

nutritious 

suitable 

tutor 

lurid 

sluice 

superficial 

chew 

lute 

slew 

superintend 

chewing 

Lutheran 

stew 

supreme 

thews 

Lucifer 

steward 

superior 

enthusiasm 

neuter 

student 

tube 

whew 

neutral 

stupefy 

tubular 

zuche 

Except  in  a  few  derivatives  as  furry,  currish,  "purring^ 
occurring,  concurring,  recurring,  when  ur  terminates  an  ac- 
cented syllable  and  the  next  syllable  begins  with  a  vowel 
or  another  r,  the  u  takes  its  regular  short  sound.  This  rule 
is  quite  general  and  applies  to  a,  e,  i,  and  o,  as  well  as  to  u. 
Car  is  changed  to  car  in  carol,  cany ;  her  is  changed  to  Mr 
in  herring,  heroine  ;  sir  (air)  is  changed  to  str  in  sirup,  strrah ; 
for  is  changed  to/5r  m  forest ;  fdr  is  changed  to/wr  in/ur- 
row. 

Some  persons  have  difficulty  in  uttering  the  short  u  in 
such  a  situation.  The  following  suggestion  may  prove 
helpful.  Pronounce  hut  with  a  firm  and  decided  short  u. 
Drop  t,  and  pronounce  h\i  several  times  vigorously.  Then 
add  ry,  separating  the  syllables  quite  widely  at  first,  and 
holding  firmly  to  a  sharply  defined  short  u.  Gradually, 
and  with  many  repetitions  of  the  word,  bring  the  two 
syllables  closer  together  until  hurry  is  pronounced  with  a 
good  short  u. 

The  following  words  should  be  practiced  frequently  and 
carefully  until  the  habit  of  a  correct  pronunciation  be- 
comes fully  established :  borough,  burrow,  currant,  current, 
cwrricle,  curry,  curried,  furrow,  flourished,  flourishing,  hurry, 


VERBAL   EXPRESSION  127 

hurrying^  hurricane^  murrain,  nourish,  nourishment,  surrogate^ 
tupxt^  worry,  thorough. 

Examples  for  Practice 

1.  The  fair  girl  placed  her  fur  coat  beneath  the  fir  tree. 

2.  The  pretty  bairn  climbed  up  to  the  urn  and  took  out 
a  pearl. 

3.  The  earnest  clerk  sold  herbs,  gherknis,  and  sperm-oil. 

4.  Her  aunt  laughed  to  see  the  calf  quaff  a  draught 
from  the  purling  brook. 

5.  Tom  Sayre  cast  his  serge  coat  into  the  surging  bil- 
lows to  soothe  the  wrath  of  the  mermaids. 

6.  The  hermit  launched  his  raft,  curled  his  mustache, 
and  played  a  dirge  upon  his  flute. 

7.  The  wild  current  hurried  past,  carrying  disaster  in 
its  path. 

8.  The  dutiful  merchant  calmly  awaited  the  return  of 
his  partner. 

9.  The  enthusiastic  tutor  forbade  the  use  of  chewing- 
gum  by  his  junior  students,  declaring  that  it  neither  nour- 
ished their  bodies  nor  illumined  their  minds. 

10.  Strong  coffee  often  disturbs  the  nerves. 

Suggestion. — Pronounce  the  words  in  the  above  sentences  as  indi- 
vidual words.  This  will  be  found  to  be  a  good  preparation  for  the 
reading  of  the  sentences.  If,  in  this  practice,  pupils  are  disposed 
to  utter  the  words  too  rapidly,  have  them  begin  at  the  end  of  the 
sentence  and  read  backward,  pronouncing  eacli  word  with  the 
utmost  precision. 

CONSONANT  COMBINATIONS 

Sounds  which  in  themselves  are  easy  enough  often  be- 
come difficult  in  combination.  The  k  sound  is  easily 
made  as  a  single  sound,  but  in  asked  it  is  frequently 
omitted,  the  word  being  pronounced  ast.  The  sound  of 
ih  is  not  difficult  when  standing  alone,  but  wedged  in  be- 


128  ADVANCED   ELOCUTION 

tween  /  and  s,  it  is  made  to  suffer,  and  the  word  fifths  ia 
erroneously  pronounced  ^i/^',  or  fifts,  and  sometimes  ^li/is. 

In  all  finished  speech  the  proportions  of  the  constitu- 
ent parts  of  a  word  need  to  be  carefully  regarded.  In 
the  mouths  of  careless  speakers  little  attention  is  paid  to 
this  important  matter.  Difficult  sounds  are  unhesitat- 
ingly exchanged  for  others  of  easier  utterance  that  most 
nearly  approach  them,  or  they  are  so  slighted  as  scarcely 
to  be  heard.  In  short,  these  people  take  the  most  un- 
bounded liberties  with  spoken  language,  considering  their 
limited  acquaintance  with  it. 

It  is  the  purpose  of  the  following  exercises  to  furnish 
such  opportunities  for  drill  and  practice  as  will  secure  and 
preserve  the  culture  and  polish  of  our  English  speech,  and 
to  beget  in  the  coming  generation  a  higher  appreciation 
of  the  beauty  and  value  of  our  mother  tongue  than  the 
former  generation  has  witnessed. 

The  following  exercises  should  receive  careful  drill  until 
the  pupil  is  able  to  utter  the  difficult  combinations  with 
the  greatest  ease.  The  individual  sounds  should  be  given 
first,  then  the  combination,  and  after  that  the  words  con- 
taining the  combination. 

INITIAL   COMBINATIONS 

1.  dio. — dwarfed,  dwelt,  dwelling,  dwindle. 

2.  fr. — frail,  frame,  fraud,  fraught,  freeze,  fresh. 

3.  gl. — gladden,  glance,  gleam,  glide,  glisten,  gloat. 

4.  gr. — grace,  grasp,  gratis,  grease,  grief,  grimace. 

5.  kl. — claim,  clang,  clarion,  clasp,  clause,  cleanly,  clerk. 

6.  pi. — placid,  placard,  plaid,  plait,  plant,  plead,  pleura. 

7.  spr. — sprung,  sprawl,  spread,  sprig,  sprinkle,  sprout. 

8.  sf. — sphere,  spherical,  spheroid,  spherule,  sphinx. 

9.  str. — straight,  stream,  stride,  striped,  strong,  stroll. 

10.  shr. — shred,  shrewd,  shriek,  shrill,  shrivel,  shrub. 

11.  tw. — twain,  tweed,  twelve,  twine,  twirl,  twist,  twitch. 

12.  thr. — thrash,  thread,  three,  thrive,  throat,  throne. 


VERBAL   EXPRESSION 


129 


TERMINAL    COMBINATIONS 

Suggestion, — In  the  following  exercises  the  pupil  should  give 
the  individual  sounds  represented  by  the  italicized  letters,  then 
the  combination,  after  which  he  should  utter  the  words  under- 
neath, bringing  out  distinctly  and  boldly  in  the  utterance  of  each 
word,  the  combination  of  sounds  at  the  head  of  the  column. 
After  the  four  columns  of  the  exercise  have  been  thus  disposed 
of,  the  pupil  should  repronounce  the  words  in  order,  from  left  to 
riglit,  across  the  page.  The  distinction  between  the  third  and 
fourth  word  of  each  line  should  be  carefully  noted.  Be  sure  to 
pronounce  the  dsis  tin  all  cases  where  the  simple  past  tense  ter- 
mination ed  takes  the  t  sound ;  as  quaffed,  snuffed,  asked,  gasped, 
helped,  chirped,  thanked,  marked,  matched,  searched.  This  will  be 
found  difficult  at  first  in  the  contracted  past  tense  forms  as  mark'dst, 
match'dst,  stretch'dst,  but  a  little  careful  practice  will  soon  enable  the 
student  to  pronounce  all  such  words  with  ease,  and  the  general 
articulation  will  be  greatly  improved  thereby.  Vary  the  exercises 
as  soon  as  the  first  evidence  of  weariness  is  manifest,  for  the  diffi- 
cult nature  of  these  drills  demands  that  the  organs  of  articulation 
be  in  their  best  condition  for  effective  work. 


1.     bz 

• 

bd 

bst 

bdst 

robs 

robbed 

robb'st 

robb'dst 

robes 

robed 

rob'st 

rob'dst 

probes 

probed 

prob'st 

prob'dst 

sobs 

sobbed 

sobb'st 

sobb'dst 

rubs 

rubbed    . 

rubb'st 

rubb'dst 

2.     gz 

gd 

gst 

gdst 

begs 

begged 

begg'st 

begg'dst 

lags 

lagged 

lagg'st 

lagg'dst 

jogs 

jogged 

jogg'st 

jogg'dst 

lugs 

lugged 

lugg'st 

lugg'dst 

3.        biz 

bid 

bkt 

bldst 

humbles 

humbled 

humbl'st 

humbl'dst 

troubles 

troubled 

troubl'st 

troubl'dst 

crumbles 

crumbled 

crumbl'st 

crumbl'dst 

doubles 
9 

doubled 

doubl'st 

doubl'dst 

130 


ADVANCED   ELOCUTION 


4.       glz 

gld 

gist 

gldst 

struggles 

struggled 

struggl'st 

struggl'dst 

mangles 

mangled 

mangl'st 

mangl'dst 

mingles 

mingled 

mingl'st 

mingl'dst 

bungles 

bungled 

bungl'st 

bungl'dst 

6.      jiz 

fid 

fist 

fidst 

trifles 

trifled 

trifl'st 

trifl'dst 

baffles 

baffled 

baffl'st 

baffl'dst 

shuffles 

shuffled 

shuffl'st 

shuffl'dst 

stifles 

stifled 

stifl'st 

stifl'dst 

6.      dlz 

did 

dlst 

didst 

bridles 

bridled 

bridl'st 

bridl'dst 

saddles 

saddled 

saddl'st 

saddl'dst 

handles 

handled 

handl'st 

handl'dst 

bundles 

bundled 

bundl'st 

bundl'dst 

7.       dnz 

dnd 

dnst 

.  dndst 

hardens 

hardened 

hard'n'st 

hard'n'dst 

saddens 

saddened 

sadd'n'st 

sadd'n'dst 

gladdens 

gladdened 

gladd'n'st 

gladd'n'dst 

widens 

widened 

wid'n'st 

wid'n'dst 

8.         tnz 

tnd 

tnst 

tndst 

brightens 

brightened 

bright'n'st 

bright'n'dst 

sweetens 

sweetened 

sweet'n'st 

sweet'n'dst 

shortens 

shortened 

short'n'st 

short'n'dst 

fattens 

fattened 

fatt'n'st 

fatt'n'dst 

9.       hnz 

knd 

hnst 

kndst 

blackens 

blackened 

black'n'st 

black'n'dst 

thickens 

thickened 

thick'n'st 

thick'n'dst 

awakens 

awakened 

awak'n'st 

awak'n'dst 

slackens 

slackened 

slack'n'st 

slack'n'dst 

VERBAL   EXPRESSION 


131 


10.      jnz 

jnd 

fnst 

fndst 

deafens 

deafened 

deaf'n'st 

deaf'n'dst 

stiffens 

stiffened 

stiff'n'st 

stift'n'dst 

softens 

softened 

soft'n'st 

soft'n'dst 

toughens 

toughened 

tough'n'st 

tough'n'dst 

11.      /s 

St 

fst 

ftst 

quaffs 

quaffed 

quaff 'st 

quaff'dst 

sniffs 

sniffed 

sniff'st 

sniff'dst 

snuffs 

snuffed 

snuff'st 

snuff'dst 

stuffs 

stuffed 

stuff'st 

stuff'dst 

12.       vz 

vd 

vst 

vdst 

waves 

waved 

wav'st 

wav'dst 

lives 

lived 

liv'st 

liv'dst 

loves 

loved 

lov'st 

lov'dst 

moves 

moved 

mov'st 

mov'dst 

13.       hz 

Ivd 

Ivst 

Ivdst 

delves 

delved 

delv'st 

delv-'dst 

shelves 

shelved 

shelv'st 

shelv'dst 

solves 

solved 

solv'st 

solv'dst 

revolves 

revolved 

revolv'st 

revolv'dst 

14.      viz 

vld 

vlst 

vldst 

drivels 

driveled 

drivTst 

drivTdst 

snivels 

sniveled 

sniv'l'st 

sniv'l'dst 

shovels 

shoveled 

shovTst 

shov'l'dst 

grovels 

groveled 

grov'l'st 

grov'l'dst 

15.      zlz 

zld 

zlst 

zldst 

dazzles 

dazzled 

dazzl'st 

dazzl'dst 

frizzles 

frizzled 

frizzl'st 

frizzl'dst 

muzzles 

muzzled 

muzzl'st 

muzzl'dst 

puzzles 

puzzled 

puzzl'st 

puzzl'dst 

132 

ADVANCED 

ELOCUTION 

16. 

mz 

md 

TUSt 

mdst 

dims 

dimmed 

dimm'st 

dimm'dst 

hems 

hemmed 

hemm'st 

hemm'dst 

crams 

crammed 

cramm'st 

cramm'dst 

drums 

drummed 

drumm'st 

drumm'dst 

17. 

Hz 

rid 

rlst 

rldst 

hurls 

hurled 

hurl'st 

hurl'dst 

furls 

furled 

furFst 

furl'dst 

twirls 

twirled 

twirl'st 

twirl'dst 

whirls 

whirled 

whirl'st 

whirl'dst 

18. 

rmz 

rmd 

rmst 

rmdst 

harms 

harmed 

harm'st 

harm'dst 

charms 

charmed 

charm 'st 

charm'dst 

forms 

formed 

form'st 

form'dst 

squirms 

squirmed 

squirm 'st 

squirm'dst 

19. 

rnz 

md 

rnst 

mdst 

earns 

earned 

earn'st 

earn'dst 

learns 

learned 

learn 'st 

learn'dst 

churns 

churned 

churn'st 

churn'dst 

spurns 

spurned 

spurn'st 

spurn 'dst 

20. 

rvz 

rvd 

rvst 

rvdst 

carves 

carved 

carv'st 

carv'dst 

nerves 

nerved 

nerv'st 

nerv'dst 

serves 

served 

serv'st 

serv'dst 

swerves 

swerved 

swerv'st 

swerv'dst 

21. 

Mz 

Md 

Est 

Mdst 

cackles 

cackled 

cackl'st 

cackl'dst 

speckles 

speckled 

speckl'st 

speckl'dst 

tickles 

tickled 

tickl'st 

tickl'dst 

buckles 

buckled 

buckl'st 

buckl'dst 

VERBAL   EXPRESSION 


133 


22. 

plz 

pld 

plst 

pldst 

tramples 

trampled 

tram  pi 'st 

trampl'dst 

cripples 

crippled 

crippl'st 

crippl'dst 

crumples 

crumpled 

crumpl'st 

crumpl'dst 

scruples 

scrupled 

scrupl'st 

scrupl'dst 

23. 

tlz 

tld 

tlst 

tldst 

rattles 

rattled 

rattl'st 

rattl'dst 

settles 

settled 

settl'st 

settl'dst 

throttles 

throttled 

throttl'st 

throttl'dst 

scuttles 

scuttled 

scuttl'st 

scuttl'dst 

24, 

znz 

znd 

znst 

zndst 

blazons 

blazoned 

blaz'n'st 

blaz'n'dst 

reasons 

reasoned 

reas'n'st 

reas'n'dst 

poisons 

poisoned 

pois'n'st 

pois'n'dst 

prisons 

prisoned 

pris'n'st 

pris'n'dst 

25. 

sks 

skt 

skst 

sktst 

asks 

asked 

ask'st 

ask'dst 

tasks 

tasked 

task'st 

task'dst 

risks 

risked 

risk'st 

risk'dst 

husks 

husked 

husk'st 

husk'dst 

26. 

sps 

spt 

spst 

sptst 

gasps 

gasped 

gasp'st 

gasp'dst 

clasps 

clasped 

clasp'st 

clasp 'dst 

grasps 

grasped 

grasp'st 

grasp'dst 

lisps 

lisped 

lisp'st 

lisp'dst 

27. 

Ips 

Ipt 

Ipst 

Iptst 

scalps 

scalped 

scalp'st 

scalp 'dst 

helps 

helped 

help'st 

help'dst 

gulps 

gulped 

gulp'st 

gulp'dst 

yelps 

yelped 

yelp'st 

yelp'dst 

134 


ADVANCED   ELOCUTION 


28. 

rps 

rpt 

rpst 

rptst 

carps 

carped 

carp'st 

carp'dst 

harps 

harped 

harp'st 

harp'dst 

chirps 

chirped 

chirp'st 

chirp'dst 

warps 

warped 

warp'st 

warp'dst 

29. 

ngz 

ngd 

ngst 

ngdst 

bangs 

banged 

bang'st 

bang'dst 

hangs 

hanged 

hang'st 

hang'dst 

wings 

winged 

wing'st 

wing'dst 

throngs 

thronged 

throng'st 

throng'dst 

30. 

ngks 

ngkt 

ngkst 

ngktst 

thanks 

thanked 

thank'st 

thank 'dst 

clanks 

clanked 

clank 'st 

clank 'dst 

links 

linked 

link'st 

link'dst 

clinks 

clinked 

clink 'st 

clink'dst 

31. 

Iks 

Ikt 

Ikst 

Iktst 

milks 

milked 

milk'st 

milk'dst 

bilks 

bilked 

bilk'st 

bilk'dst 

bulks 

bulked 

bulk'st 

bulk'dst 

skulks 

skulked 

skulk'st 

skulk'dst 

32. 

rks 

rkt 

rkst 

rktst 

marks 

marked 

mark'st 

mark'dst 

shirks 

shirked 

shirk'st 

shirk'dst 

works 

worked 

work'st 

work 'dst 

lurks 

lurked 

lurk'st 

lurk'dst 

33. 

rbz 

rbd 

rbst 

rbdst 

barbs 

barbed 

barb'st 

barb'dst 

curbs 

curbed 

curb'st 

curb 'dst 

absorbs 

absorbed 

absorb 'st 

absorb'dst 

disturbs 

disturbed 

disturb 'st 

disturb 'dst 

VERBAL   EXPRESSION 


135 


34. 

thz 

thd 

thst 

thdst 

sheathes 

sheathed 

sheath 'st 

sheath'dst 

swathes 

swathed 

swath 'st 

swath'dst 

breathes 

breathed 

breath 'st 

breath 'dst 

wreathes 

wreathed 

wreath'st 

wreath 'dst 

35. 

J 

jd 

jst 

jdst 

cage 

caged 

cag'st 

cag'dst 

pledge 

pledged 

pledg'st 

pledg'dst 

bridge 

bridged 

bridg'st 

bridg'dst 

grudge 

grudged 

grudg'st 

grudg'dst 

36. 

ch 

cht 

chst 

chtst 

stretch 

stretched 

stretch 'st 

stretch'dst 

match 

matched 

match 'st 

match 'dst 

pitch 

pitched 

pitch 'st 

pitch'dst 

touch 

touched 

touch 'st 

touch 'dst 

37. 

rch 

rcU 

rchst 

rchtst 

search 

searched 

search'st 

search 'dst 

lurch 

lurched 

lurch'st 

lurch'dst 

march 

marched 

march'st 

march'dst 

perch 

perched 

perch'st 

perch'dst 

136  ADVANCED    ELOCUTION 

SYLLABICATION 

"  Point  thy  tongue  on  the  anvil  of  truth."— Pindar. 

A  syllable  is  a  word  or  part  of  a  word  uttered  with  a 
single  impulse  of  the  voice. 

A  monosyllable  is  a  word  of  one  syllable,  a  dissyllable 
of  two  syllables,  a  trisyllable  of  three  syllables,  a  polysyl- 
lable is  a  word  of  four  or  more  syllables. 

The  last  syllable  of  a  word  is  called  the  ultimate ;  the 
next  to  the  last,  the  penult ;  and  the  third  and  fourth  from 
the  end  are  called  respectively  the  antepenult  and  2:>re- 
antepenult. 

Many  words  that  are  written  as  monosyllables  are  pro- 
nounced as  dissyllables.  This  arises  from  the  fact  that  the 
sounds  which  necessitate  the  two  vocal  impulses  will  not 
combine  with  sufficient  closeness  to  permit  their  utterance 
with  a  single  impulse.  The  words  ouVj  hour,  soitr,  flour 
are  spoken  with  two  impulses  as  certainly,  as  cower,  dower, 
tower,  flower.  The  words  chasm,  spasm,  prism,  have  as  many 
vocal  syllables  as  cousin,  basin,  prison.  Even  in  such  words 
as  elm,  helm,  film,  culm,  in  which  the  /  and  m  unite  much 
more  closely,  the  uncultivated  are  apt  to  interpose  a  vowel 
in  order  to  secure  greater  ease  of  utterance,  hence  we  fre- 
quently hear  these  words  pronounced,  ellum,  helium,  etc. 

The  uneducated,  and  even  many  among  the  cultivated 
classes  of  society,  are  apt  to  omit  syllables  that  should  be 
sounded.  Ev''ry  for  every,  hisHry  for  history,  several  for 
several,  memory  for  memory,  famHy  for  family,  illustrate  a 
class  of  errors  that  abound  in  nearly  every  community. 
AVhile  it  is  possible  to  find  such  extravagances  of  pronun- 
ciation as  Dickens  so  happily  caricatures  in  his  '■''Martin 
Chuzzlewit,'''  the  opposite  fault  of  slighting  and  omitting 
syllables  is  much  more  common. 


VERBAL   EXPRESSION  137 

One  of  the  most  charming  characteristics  of  instru- 
mental music  is  known  as  "  delicacy  of  touch."  Nothing 
so  quickly  marks  the  finished  artist.  To  be  able  to  strike 
each  syllable  of  a  word  and  each  sound  of  every  syllable 
with  due  force  and  give  to  it  its  proper  character  and 
quantity  is  as  truly  a  token  of  cultivated  speech  as  is  the 
other  of  musical  excellence. 

Words  are  divided  into  syllables  for  the  purpose  of 
showing  either  their  pronunciation  or  their  etymological 
composition.  As  more  persons  are  interested  in  the  pro- 
nunciation of  words  than  in  their  derivation,  the  syllabi- 
cation as  found  in  most  dictionaries  is  based  upon  the 
orthoepical  principle. 

Every  sounded  vowel  marks  a  syllable.  A  word  will 
have  at  least  as  many  syllables  as  it  has  vowel  sounds. 
In-di-vid-u-al-i-ty  has  seven  sounded  vowels,  and  it  has, 
therefore,  seven  syllables. 

The  vowels  e  and  i  are  sometimes  silent,  leaving  the 
consonants  of  the  written  syllable  to  represent  the  spoken 
syllable;  as  e-vHj  hri-dl,  ba-shi,  cous-\  giv-hi.  A  word 
may,  therefore,  have  more  syllables  than  it  has  vowels 
sounded. 

Orthoepists  differ  in  opinion  concerning  the  number  of 
syllables  in  certain  classes  of  words.  The  vowels  e  and  i 
are,  by  some  authorities,  made  silent  or  they  are  blended 
with  other  vowels.  By  other  authorities  they  are  given 
separate  sounds.  Some  pronounce  such  words  as  glacial^ 
series,  sentient  hygiene,  tedious,  trivial,  junior,  with  three 
syllables,  others  pronounce  them  with  two. 

The  close  relationship  existing  between  i  and  y  is  shown 
in  the  words  tedious,  trivial,  junior.  When  pronounced 
with  two  syllables  the  i  changes  to  y,  forming  the  spoken 
words  ted-yus,  triv-yal,  jun-yor. 

In  such  words  as  glacial,  series,  sentient,  hygiene,  when 
pronounced  with  two  syllables,  the  i  becomes  silent. 


138  ADVANCED    ELOCUTION 


ACCENT 


In  the  English  language  every  word  of  more  than  one 
syllable  is  pronounced  with  a  stress  of  voice,  called  accent, 
upon  one  of  its  syllables.  In  words  of  three  or  more  syl- 
lables there  are  usually  two  accents,  one  light  and  the  other 
stronger.  The  greater  stress  is  called  the  primary  accent ; 
the  lighter,  the  secondary.  In  words  of  six  or  more  syllables 
there  are  often  found  three  accents,  one  strong  and  the 
others  light.  Orthoepists  generally  mark  the  two  light  ac- 
cents alike  and  call  both  secondary.  The  acute  ear  will  dis- 
cover that  there  is  frequently  a  difference  in  tlie  degree  of 
stress  or  force  with  which  the  syllables  of  lighter  accent  are 
struck,  so  that  we  would  be  justified  in  designating  the 
accented  syllables  as  primary,  secondary,  and  tertiary,  and 
in  giving  each  a  distinctive  mark. 

These  accents  exert  considerable  influence  upon  the 
vocal  sounds.  In  monosyllables  and  in  accented  sylla- 
bles the  vowels  are  uttered  with  distinctness;  in  un- 
accented syllables  they  are  often  more  or  less  obscured. 

The  character  of  the  sentiment  has  also  much  to  do  in 
determining  the  sharpness  or  the  obscurity  of  the  vowel 
sounds.  In  colloquial  language  they  are  not  only  ob- 
scured, but  often  lean  toward  sounds  of  easier  utterance ; 
in  the  more  dignified  forms  of  discourse  the  sliarpness  of 
both  vowel  and  consonant  sounds  is  more  fully  preserved. 
"  Those  who  wish  to  pronounce  elegantly,"  as  Walker 
truly  remarks,  "  must  be  particularly  attentive  to  the 
unaccented  vowels,  as  a  neat  pronunciation  of  these  forms 
one  of  the  greatest  beauties  of  speaking." 

Nouns  of  two  syllables  generally  take  the  accent  upon 
the  first;  as,  almond^  bellows,  brigand,  caisson,  currant, 
dahlia,  decade,  expert,  falcon,  frontier,  sachem,  orchid,  squalor ^ 
strata,  truffle. 

The  ordinary  reader  or  speaker,  though  ignorant  of  the 


VERBAL    EXPRESSION  139 

above  and  other  general  laws  of  accent,  instinctively  obeys 
them.  When,  therefore,  he  meets  with  an  exception  to 
the  rule,  unless  he  is  very  familiar  with  the  true  pronun- 
ciation of  the  word,  he  is  almost  certain  to  mispronounce 
it.  For  this  reason  the  exceptions  are  more  important  for 
study  than  the  words  falling  under  the  rule.  Examples  : 
address,  adept^  adult,  allies,  annex,  ascent,  bouquet,  cabal,  con- 
tour, divan,  excess,  research,  resource,  morass,  recess,  romance, 
compeer,  finance,  recourse,  routine,  grimace,  melee,  mustache, 
pretence,  pretext,  surtout. 

Adjectives  of  two  syllables,  like  nouns,  take  the  accent 
upon  the  first ;  as,  currish,  diverse,  extant,  jocund,  piquant. 
Exceptions :  canine,  expert,  robust,  verbose,  condign,  occult, 
prolix,  jocose,  rotund,  saline,  supine. 

Verbs  of  two  syllables  take  the  accent  upon  the  second ; 
as,  amass,  digest,  erase,  suffice,  surname,  ferment,  purloin. 
Exceptions :  construe,  donate,  sojourn,  preface,  ransack,  com- 
ment, gyrate,  harass,  locate,  vacate. 

In  words  of  three  or  more  syllables,  the  place  of  most 
frequent  accent  seems  to  be  upon  the  antepenult.  This  is 
called  by  Walker  the  favorite  accent  of  the  language. 
Examples :  dogmatist,  duplicate,  earnestness,  elliptical,  econo- 
mist, exterminate,  simultaneous,  ammoniacal,  homoeopathy, 
hypochondria,  idiosyncrasy,  dicotyledonous,  impracticability, 
monocotyledonous,  valetudinarian,  incommensurability,  unintel- 
ligibility. 

The  exceptions  to  this  rule  are  many  and  various. 
Words  ending  in  tion,  cion,  sion,  usually  take  the  accent 
upon  the  penult ;  as,  attraction,  interjection,  coercion,  compre- 
hension, multiplication,  personification. 

Many  words  of  classical  origin  retain  the  original  accent  ; 
as,  acu'men,  abdo'men,  lyce'um,  muse'um,  bitu'men,  hori'zon^ 
sonor'ous,  deco'rum,  athenw'um,  mausole'um,  parago'ge. 

Many  derivatives  retain  the  accent  of  the  words  from 
which  they  are  derived.     From  censure  we  have  censur- 


140 


ADVANCED   ELOCUTION 


ingj  censurable;  from  contribute  we  have  contributor,  con- 
tributory.  To  tliis  rule  we  also  find  many  exceptions. 
The  above  rule  for  terminations  in  tion  always  supersedes 
the  law  of  derivatives,  hence  we  have  contribution,  confisca- 
tion. Such  exceptions  as  the  following  are  also  very  com- 
mon :  chastisement,  comparable,  disputable,  lamentable,  impi- 
ously, irreparable. 

In  many  cases  the  accent  seems  to  be  quite  arbitrary. 
In  the  following  words  it  is  very  often  misplaced :  dej'icit, 
hos'pitable,  for'midable,  contumely,  des'picable,  no'menclature, 
per'emptory,  ex'emplary,  con'tumacy,  or'thoepy,  or'thoepist, 
ob'ligatory,  indis^putable,  indis'soluhly,  mmiumit',  magazine', 
accli'mated,  defalcate,  inun'date,  excuVpate,  inqui'ry,  expo'- 
nent,  condo'lence,  oppo'nent. 


DISCRIMINATIVE   ACCENT 

Accent  is  sometimes  employed  to  discriminate  between 
words  of  the  same  spelling,  but  with  a  difference  in  mean- 
ing or  use.  In  accordance  with  the  rule  previousl}^  stated, 
the  noun  and  adjective  forms  take  the  accent  on  the  first 
syllable  and  the  verb  forms  on  the  last. 


Noun 

Verb 

Noun 

Verb 

ab'stract 

abstract' 

des'ert 

desert' 

ac'cent 

accent' 

es'cort 

escort' 

affix 

affix' 

es'say 

essay' 

cem'ent 

cement' 

ex'port 

export' 

col'lect 

collect' 

•  ex' tract 

extract' 

com'pact 

compact' 

fer'ment 

ferment' 

con'tract 

contract' 

fore'cast 

forecast' 

con'cert 

concert' 

im'port 

import' 

con' duct 

conduct' 

im'press 

impress' 

con' fine 

confine' 

in'cense 

incense' 

con'sort 

consort' 

in'sult 

insult' 

con'test 

contest' 

ob'ject 

object' 

con'vert 

convert' 

out'law 

outlaw' 

VERBAL   EXPRESSION 


141 


Noun 
per'fume 
per'mit 
pre' fix 
pres'ent 
pro'test 
reb'el 
rec'ord 
refuse 
sub'ject 
sur'vey 
tor'ment 


Verb 
perfume' 
permit' 
prefix' 
present' 
protest' 
rebel' 
record' 
refuse' 
subject' 
survey' 
torment' 


Noun 

Verb 

trans'fer 

transfer' 

trans' port 

transport' 

guiriotine 

guillotine' 

quar'antine 

quarantine' 

Adjective 

Verb 

ab'ject 

abject' 

ab'sent 

absent' 

fre'quent 

frequent' 

pres'ent 

present' 

com'pound 

compound' 

ANTITHETICAL  ACCENT 

When  the  accent  is  transferred  from  the  syllable  upon 
which  it  properly  belongs,  to  another  syllable,  in  order  to 
show  contrast  of  thought,  it  is  called  antithetical  or  rhetor- 
ical accent.  All  literature  abounds  in  these  antitheses,  so 
that  the  reader  of  even  ordinary  ability  instinctively 
adapts  himself  to  the  change  of  accent.  Examples :  He 
must  in'crease  but  I  must  de'crease.  Pardon  our  sins  of 
o'mission  as  well  as  of  com'mission.  This  corrupt'ible  must 
put  on  in'corru})tion,  and  this  mor'tal  must  put  on  im'- 
mortality. 

INFLUENCE  OF  ACCENT  ON  THE  VOWEL  SOUNDS 

1.  Obscure  a. — The  vowel  a,  when  it  forms  or  terminates 
an  unaccented  sylla])le  has  the  sound  of  obscure  a ;  as  in 
a-7nong,  bi-na-ry,  i-de-a.  When  the  a  is  followed  by  an 
accented  vowel  it  takes  a  shortened  form  of  long  a  ;  as  in 
a-e'-ri-al,  chd-ot'ic.  When  h  follows  a  in  a  final  unaccented 
syllable,  the  vowel  takes  the  sound  of  obscure  a;  as  in  Je- 
ho-vah,  Mes-si-ah. 

2.  ar. — In  the  unaccented  terminal  syllables  ar  and  ard 
the  vowel  has  the  sound  of  Italian  a,  slightly  obscured. 


142  ADVANCED    ELOCUTION 

Some  orthoepists  give  these  terminations  the  sound  of  iir 
and  urd^  but  this  places  a  premium  upon  slovenliness  of 
pronunciation.  The  Italian  a  is  easily  preserved,  and 
when  lightly,  yet  distinctly,  uttered,  will  not  offend  the 
most  fastidious  ear.  Examples  :  /iar,  cellar^  pillar^  collar, 
dollar  J  scholar,  solar,  polar,  lunar,  regidar,  circular,  popular, 
particular,  niggard,  sluggard,  tankard,  drunkard,  dullard, 
spikenard,  leopard,  dotard,  dastard,  leeward,  homeward,  stmv- 
ard,  backivard,  awkward,  coward,  froivard,  upward,  down- 
ward, forward,  vineyard,  hazard,  lizard,  wizard. 

3.  ate. — In  the  unaccented  final  syllable  ate,  the  vowel 
takes  the  sound  of  long  a.  In  verbs  of  this  termination 
the  sharpness  of  the  vowel  is  fully  preserved ;  as  in  vacate, 
dedicate,  calculate,  articulate.  In  nouns  and  adjectives  the 
long  a  is  more  obscure ;  as  certificate,  duplicate,  advocate,  man- 
date, agate,  frigate,  surrogate,  opiate,  articulate,  licentiate,  pre- 
late, chocolate,  pirate,  primxite,  delicate,  intricate,  roseate,  deso- 
late, idtimate,  intimate,  fortunate. 

The  distinction  between  the  sharper  and  the  more  ob- 
scure forms  of  long  a  is  brought  out  most  clearly  in  the 
use  of  the  same  word  ;  as  in  articulate  (adjective),  articu- 
late (verb),  separate  (adjective),  separate  (verb). 

It  will  be  observed,  too,  that  the  most  obscure  form  of 
this  unaccented  termination  occurs  in  nouns  and  adjec- 
tives of  two  syllables ;  as  in  climate,  legate,  private.  This  is 
due  to  the  fact  that  the  syllable  of  greatest  stress  is  usually 
followed  by  that  having  least  stress.  In  words  of  more, 
than  two  syllables  the  primary  accent  frequently  occurs 
on  the  antepenult  or  pre-antepenult,  so  that  by  the  time 
the  terminal  syllable  is  reached,  there  is  a  gain  in  stress 
almost  or  quite  equal  to  a  secondary  accent. 

The  degree  of  the  stress  largely  determines  the  sharp- 
ness or  obscurity  of  the  vowel.  In  the  terminal  syllable 
of  the  words  calculate,  advocate,  duplicate,  delicate,  chocolate, 
private,  the  a   represents    a    series  of   fine  gradations  of 


VEKBAL   EXPRESSION  143 

sound,  apparent  to  every  acute  ear.  To  assign  a  separate 
symbol  to  each  of  these  would  greatly  mystify  the  average 
student,  and  would  so  complicate  the  table  of  sounds  as  to 
impair  its  utility.  Many  orthoepists  have  been  perplexed 
by  these  obscure  vowels,  and  have  adopted  various  expe- 
dients to  meet  the  difficulty.  The  simplest,  and  perhaps 
the  best  method  of  disposing  of  the  problem  is  to  make 
the  pronunciation  conform  as  nearly  as  possible  to  the 
orthography,  uttering  the  vowel  sound  with  that  degree  of 
lightness  which  the  absence  of  the  accent  demands.  This 
will  preserve  the  long  a  in  the  unaccented  terminal  syl- 
lable ate,  as  in  the  words  just  named.  It  will  preserve 
the  Italian  a  in  such  words  as  dollar,  nectar,  pillar  ;  it  will 
preserve  the  coalescent  e  in  such  words  as  mutter,  tapir^ 
nadir,  martyr;  it  will  preserve  the  coalescent  o  in  actor, 
victor,  captor ;  and  give  to  coalescent  u  only  such  words  as 
sulphur,  murmur. 

4.  e. — The  letter  e  has  the  same  sound  in  unaccented 
syllables  that  it  has  when  under  the  accent.  When  it 
forms  or  terminates  an  unaccented  syllable  it  has  the 
sound  of  long  e,  given  with  a  shortened  quantity  and  with 
a  light,  yet  distinct  stroke.  This  sound  and  that  of  unac- 
cented short  i  afford  the  finest  opportunity  for  the  exercise 
of  that  "  delicacy  of  touch,"  which  marks  the  cultured 
reader  or  speaker.  Never  suffer  long  e  to  degenerate  into 
short  u,  in  such  words  as  elegant,  appetite,  elegy,  enemy,  so- 
ciety, genesis,  antecedent,  Cicero,  vertebrate. 

The  sound  of  short  i  is  sometimes  incorrectly  substituted 
for  short  e  in  such  words  as  wicked,  riches,  basket,  honest.  In 
French  words  as  e-lite,  me-lee,  de-but,  de-bris,  re-gime,  pro- 
te-ge  the  e  takes  the  sound  of  long  a. 

The  unaccented  er  should  not  change  to  ur  in  such  words 
as  robber,  suffer,  offer,  barber,  hatter,  vesper,  aster,  either^ 
neither. 

5.  i. — Unaccented   i.  when   it  forms   or  terminates  a 


144  ADVANCED    ELOCUTION 

syllable,  takes  the  sound  of  short  i,  as  in  dif-fi-dent,  wit-ti-h/y 
hap-pi-ly,  pret-ti-ly,  mer-ri-ly,  I-t(d-ian,  in-el-i-gi-ble,  un-in- 
tel-li-gi-bil-i-ty,  in-di-vis-i-bil-i-ty.  To  this  rule  there  are 
many  exceptions. 

Webster  says,  "  The  i  is  usually  long  in  the  initial  syl- 
lables i,  bij  chi,  cliy  cri,  pri,  tri.^^  •  To  the  first  of  these  there 
are  few  if  any  exceptions  other  than  iguana,  Italian,  italicize, 
and  their  derivatives.  To  the  second  there  are  no  ex- 
ceptions among  words  in  ordinary  use  other  than  bt-tu'- 
mea  and  its  derivatives,  bX-tu'-min-ous,  bi-tu'-min-ate,  etc. 
The  word  biography  is  often  incorrectly  pronounced  with 
short  i  or  long  e  in  the  initial  syllable. 

The  initial  syllable  chi  is  sounded  like  ki  in  all  words 
in  which  r  begins  the  second  syllable,  as  in  chlrog'raphy, 
ch'iroVogy,  chVromancy,  chlron'omy,  chlrop'od'ist,  and  their 
derivatives.  The  initial  syllable  cli  has  but  few  exceptions, 
the  most  important  of  which  are  cllimacter'ic  (or  cUmac'- 
teric),  cUmacter' ical,  cUnomet'ric.  The  syllable  cri  conforms 
very  closely  to  the  rule,  as  in  cr'moid'al,  crinoid'ean,  crite^- 
rion,  ci'mig'erous,  cr'mose'.     The  word  critique  is  an  exception. 

Tlie  initial  syllable  pri  has  few  if  any  exceptions,  but  is 
oftener  mispronounced  than  most  of  the  others.  The  sound 
of  long  i  should  be  preserved  in  primacy,  primate,  primeval, 
primogeniture,  primordial.  In  accordance  with  the  rule, 
the  sound  of  long  i  should  be  preserved  in  triassic,  tribunal, 
tricennial,  trident' ate,  triennial,  tri'fid,  trifar'cate,  trigram'mic, 
trigyn'ia,  trilem'ma,  trilo'bate  (or  tri'lohate),  tri'lobite,  trilobit'ic, 
tri'meran,  Irimes'ter,  trimefrical,  trinerv'ate,  trinod'al,  trio, 
tripartient,  triphyl'lous  (or  trlph'yllous),  triplicity,  trisperm'- 
ous,  triter'nate,  triumphant,  trium'vir.  In  a  few  of  the  above 
words  the  accent  falls  upon  the  initial  syllable,  which  in 
itself,  would  tend  to  preserve  the  long  i  sound.  The  i  of 
the  initial  syllable  of  the  following  words  is  short :  tri- 
syllable,  trichi'na,  trichino' sis,  trifugous  (or  triju'gous),  tris- 
'planchnic,  trigynous. 


VERBAL   EXPRESSION  145 

The  unaccented  terminal  i  of  other  initial  syllables  is 
often  incorrectly  sounded.  In  accordance  with  the  general 
rule,  it  should  be  short,  unless  there  is  some  special  reason 
to  tlie  contrary.  The  following  and  their  derivatives  re- 
quire short  i:  didactic,  dldactyl,  digest  (verb),  digress,  di- 
gression, dilapidate,  dilate,  dilemma,  dilute,  dilution,  diluvial, 
dimension,  diminish,  diploma,  direct,  directly,  divan,  diverge, 
divert,  divest,  divine,  divulge,  divide,  fidelity,  finance,  financial, 
financier,  hilarity,  minute  (adjective),  miraculous,  piano, 
piazza,  pilaster,  tirade,  virago,  vituperate,  vivacious. 

The  following,  contrary  to  the  general  rule,  require  long 
i :  divaricate,  sinecure,  siren,  tiny,  dioptrics,  diurnal,  dieeresls, 
diocesan. 

6.  o. — The  letter  o,  when  it  forms  or  terminates  an  un- 
accented syllable  has  its  regular  long  o  sound,  often 
shortened  by  the  omission  of  the  oo  vanish,  as  in  hero, 
motto,  crocodile,  syllogism,  volcano. 

7.  u. — The  letter  u,  when  it  forms  or  terminates  an  un- 
accented syllable  takes  its  regular  long  u  sound,  frequently 
modified  by  its  surroundings.  When  it  forms  a  syllable 
and  the  preceding  syllable  ends  with  r,  as  in  er-u-di-tion, 
vlr-n-lcnt,  orthoepists  differ  concerning  the  vowel  sound. 
The  r  is  too  potential  to  suffer  its  influence  to  be  bounded 
by  a  syllable  or  stayed  by  a  hyphen.  It  is  safe,  therefore, 
to  assume  that  the  vowel  sound  should  be  long  oo,  just  as 
in  rude,  brute,  crude,  in  which  r  precedes  u  in  the  same  syl- 
lable. 

8.  y. — The  letter  y,  when  a  vowel,  takes  the  sound  of  t, 
and  is  subject  to  all  the  laws  governing  that  letter.  When 
it  forms  or  terminates  an  unaccented  syllable,  it  becomes 
sliort  i,  as  in  a-nal'-y-sis,  syn-on' -y-my ,  a-poc' -ry-pha,  ap'-a-thy, 
pit'-y.  In  the  unaccented  final  syllable/?/  of  verl:)s  it  has 
the  sound  of  long  i ;  as  in  gratify,  testify,  ratify.  In  other 
terminal  syllables  of  verbs  it  also  takes  the  sound  of  long  i  ; 
as  in  multiply,  occupy,  prophesy.     It  will  be  observed  that, 

10 


146  ADVANCED   ELOCUTION 

although  the  dictionaries  place  no  accent  upon  the  ter- 
minal syllables  in  the  above  verbs,  yet  they  actually 
possess  a  strongly  marked  secondary  accent. 

9.  ei. — The  unaccented  vowel  digraph  ei  has  the  sound 
of  short  i;  as  in  for ei<jn,  mullein,  forfeit,  surfeit. 

10.  ey. — The  unaccented  vowel  digraph  ey  has  the  sound 
of  short  i ;  as  in  alley,  galley,  valley,  honey,  money,  journey. 
The  noun  survey  is  an  exception  to  this  rule. 

11.  ie. — In  the  plurals  of  nouns  ending  in  y  preceded 
by  a  consonant,  and  also  in  the  third  person  singular, 
present  tense,  and  in  the  past  tense  and  past  participle  of 
most  verbs  that  end  in  y,  preceded  by  a  consonant,  the 
unaccented  vowel  digraph  ie  has  the  sound  of  short  i;  as  in 
treaties,  cities,  qualities,  carries,  harries,  worries,  married, 
buried,  palsied.  But  in  the  third  person  singular  present 
tense,  and  also  in  past  tense  and  past  participle  of  verbs 
ending  in  fy,  and  of  the  verbs  multiply,  occupy,  prophesy, 
this  digraph  has  the  sound  of  long  i. 

12.  ou. — The  vowel  digraph  ouin  the  unaccented  final 
syllable  ous  has  the  sound  of  short  u  ;  as  in  anxious,  zealous, 
famous,  ruinous. 

Guard  against  the  fault  of  inserting  an  additional  syl- 
lable in  such  words  as  tremendous,  stupendous,  mountainous, 
pronouncing  them  tre-men'-di-ous  (or  tre-men-jus),  stu-pen'- 
di-ous,  moun-tain'-i-ous.  Even  where  the  vowels  e  and  i  are 
prefixed  to  the  terminative  ous,  thus  seeming  to  justify  the 
additional  syllable,  the  e  or  i  is  suppressed  in  pronun- 
ciation. Examples :  herha'ceous,  outra' geous,  coura'geous, 
spa'cious,  gra'cious,  saga'cious,  vexa'tious,  conta' gious,  re- 
lig'ious. 

13.  ow. — The  vowel  digraph  ow,in  an  unaccented  final 
syllable,  takes  the  sound  of  long  o,  without  the  vanish ;  as 
in  narrow,  meadow,  fellow,  window,  borrow,  sorrow,  furrow. 
Guard  carefully  against  the  common  faulty  pronunciation, 
narruh,  meaduh,  felluh,  etc. 


VERBAL   EXPRESSION 


UNACCENTED   TERMINAL   SYLLABLES 


147 


1.  The  organs  of  articulation  should  be  trained  to  strike 
the  vowels  in  unaccented  syllables  with  accuracy  and 
ease,  but  with  that  inferior  emphasis  which  should  always 
distinguish  the  unaccented  from  the  accented  vowels.  The 
consonants  should  also  be  neatly  and  properly  struck, 
with  a  degree  of  force  proportioned  to  the  stress  required 
upon  the  syllable. 

2.  al. — In  such  words  as  cymbal^  verbal^  medical,  magical, 
logical,  comical,  typical,  physical,  practical,  recital,  ornamental, 
Pentecostal,  sacerdotal,  preserve  the  sound  of  short  a  slightly 
obscured.  Do  not  suffer  the  a  to  become  a  silent  letter,  as 
in  cymVl,  verb\  nor  allow  it  to  be  changed  to  short  u,  as  in 
cymbul,  verbul.  Make  a  proper  distinction  between  the 
words  medal,  middle;  metal,  mettle;  pedal,  peddle;  bridal, 
bridle ;  dual,  duel ;  radical,  radicle ;  capital,  capitol. 

3.  as. — In  such  words  as  pancreas,  boreas,  bias,  alias, 
capias,  atlas,  Christmas,  copperas,  the  vowel  in  the  terminal 
syllable  takes  the  sound  of  short  a,  verging  slightly  toward 
short  u. 

4.  ain. — Many  words  ending  in  unaccented  ain  are  mis- 
pronounced. The  vowel  is  short  i,  sharply  defined  but 
lightly  uttered.  Examples  :  villain,  chaplain,  chamberlain, 
murrain,  chieftain,  plantain,  fountain,  mountain,  captain,  cer- 
tain, curtain.  A  few  exceptions  occur.  The  words  chil- 
blain and  cordwain  require  long  a.  Authorities  differ 
greatly  in  the  pronunciation  of  porcelain.  Some  give  it 
three  syllables ;  others  two.  A  few  give  the  vowel  in  the 
terminal  syllable  the  sound  of  short  i,  in  accordance  with 
the  rule,  but  the  larger  number  preserve  the  sound  of 
long  a.  Usage  is  also  divided  on  the  word  quatrain,  the 
weight  of  authority  being  in  favor  of  lo7ig  a,  while  some 
excellent  authorities  prefer  short  i. 

The  nautical  terms  boatswain  and  cockswain,  in  dignified 


148  ADVANCED   ELOCUTION 

discourse,  should  be  pronounced  with  long  a;  but  collo- 
quially and  in  the  language  of  the  sailor  they  are  usually 
pronounced  bo'sn  and  cock'sn. 

5.  any. — The  termination  any  is  the  subject  of  much 
dispute  among  orthoepists.  In  words  like  miscellany^ 
chatellany,  castellany,  the  primary  accent  usually  falls 
upon  the  pre-antepenult,  or  earlier,  so  that  when  the  a  of 
this  termination  is  reached,  the  stress  upon  this  syllable 
justifies  the  use  of  long  a.  Some  orthoepists,  however, 
regard  the  n  of  the  last  sjdlable  as  having  an  influence 
upon  the  a,  which,  in  their  estimation,  justifies  the  use  of 
short  e  as  the  proper  sound  for  the  penult.  The  words 
any  and  many  are  the  only  ones  that  should  be  sounded 
with  short  e. 

In  words  of  three  syllables,  like  company ^  litany^  botany, 
the  a  either  terminates  or  forms  an  unaccented  syllable, 
and  should  have  the  sound  of  obscure  a  in  accordance  with 
the  rule. 

6.  ary. — In  words  of  four  or  more  syllables  ending  in 
ary,  like  lapidary^  legendary^  subsidiary^  vocabulary,  extra- 
ordinary, valetudinary,  disciplinary,  the  secondary  accent, 
which  usually  falls  upon  the  penult,  gives  a  long  quantity 
to  the  vowal  a;  but  the  r,  the  most  potent  of  all  the  con- 
sonants, reaches  back  to  the  preceding  vowel,  and  changes 
what  would  otherwise  have  been  long  a  to  coalescent  a. 
The  orthographic  division  of  the  syllables  places  the  r 
in  the  ultimate,  but  the  orthoepic  syllabication  refers  it 
to  the  penult. 

Most  words  of  three  syllables  ending  in  ary  take  the 
accent  on  the  first,  as  diary,  salary,  primary,  summary. 
This  makes  the  a  to  form  or  terminate  the  unaccented 
syllable,  hence  it  takes  the  sound  of  obscure  a.  The  words 
canary,  vagary,  unwary  are  exceptions. 

In  the  polysjdlables  peniten'tiary,  infirm'ary,  anniver'- 
sary,  parliamentary,  testament' ary,  element'ary,  supplement'^ 


VERBAL   EXPRESSION 


149 


ary,  the  primary  accent  falls  upon  the  antepenult,  which 
gives  to  the  vowel  in  the  penult  the  sound  of  obscure  a,  as 
in  the  trisyllables  before  referred  to. 

Following  the  general  rule  that  a  vowel  forming  or  ter- 
minating an  accented  syllable  is  long,  the  orthoepists  and 
lexicographers  mark  such  words  as  vary^  wary,  Mary, 
canary^  vagary,  with  long  a  in  the  penult.  It  is  a  question 
whether  the  softer  form  of  coalescent  a  would  not  be  better. 
The  latter  sound  is  not  only  much  more  agreeable  to  the 
ear,  but  it  is  also  used  in  the  above  and  similar  words  by 
a  great  many  cultivated  people. 

7.  el. — In  the  unaccented  terminal  syllable  el  the  e  is 
generally  sounded  ;  as  in : 


angel 

damsel 

model 

timbrel 

barbel 

duel 

mongrel 

tinsel 

barrel 

fardel 

morsel 

towel 

bowel 

flannel 

newel 

trammel 

brothel 

fuel 

nickel 

travel 

bushel 

funnel 

novel 

trowel 

camel 

gavel 

panel 

tunnel 

cancel 

gospel 

parcel 

vessel 

cartel 

gravel 

pommel 

vowel 

carvel 

gruel 

quarrel 

apparel 

chancel 

hovel 

rebel 

asphodel 

channel 

jewel 

revel 

calomel 

chapel 

kennel 

rowel 

caravel 

charnel 

kernel 

satchel 

citadel 

chisel 

label 

scalpel 

doggerel 

corbel 

laurel 

scoundrel 

enamel 

counsel 

level 

sequel 

infidel 

crewel 

libel 

sorrel 

mackerel 

cruel 

lintel 

squirrel 

philomel 

cudgel 

marvel 

ta,ssel 

sentinel 

In  the  following  words  the  e  of  the  el  termination  is 


150  ADVANCED   ELOCUTION 

not  sounded :  bevel,  betel,  chattel,  drazel,  drivel,  dishevel,  easety 
grovel,  hazel,  mantel,  mussel,  misplckel,  mangel-wurzel,  ouzelf 
ravel,  rivel,  scovel,  shekel,  shovel,  shrivel,  snivel,  swingel,  sivivel, 
teasel,  toggel,  towsel.  The  el  termination  of  these  words  is, 
therefore,  sounded  like  the  le  termination  of  beetle,  mantle, 
muscle,  mangle. 

8.  en. — Such  forms  of  pronunciation  as  are  unusual  or 
out  of  the  regular  order  are  much  more  frequently  vio- 
lated than  those  that  are  easy  and  follow  the  beaten  track. 
The  words  that  fall  under  the  above  rule  for  the  el  ter- 
mination are,  therefore,  more  important  to  the  student 
than  those  that  come  under  the  exceptions.  It  requires 
somewhat  more  care  and  effort  to  say  an-gel  or  vessel  than 
to  say  an-g^l  or  vessel  and  hence  the  words  which  require 
the  sounding  of  the  e  are  very  often  mispronounced. 

The  rule  for  the  en  termination  requires  the  suppres- 
sion of  the  e,  and  is,  therefore,  just  the  opposite  of  that 
for  el.  So  few  persons  mistake  the  pronunciation  of  the 
words  falling  under  the  rule,  and  so  many  are  at  fault  in 
respect  to  the  exceptions,  that  it  is  necessary  to  emphasize 
the  importance  of  drill  and  study  upon  the  latter.  Under 
the  rule  we  have  such  words  as  golden,  garden,  burden, 
heathen,  blacken,  spoken,  broken,  and  many  others.  The 
words  often,  soften,  fasten,  hasten,  chasten,  listen,  glisten, 
moisten,  christen,  suppress  both  t  and  e,  and  must  be  pro- 
nounced ofn,  sofn,  etc. 

The  exceptions  to  this  rule  consist  of  words  ending  in 
unaccented  en,  preceded  by  the  liquids  I,  m,  n,  r.  Under 
I  we  have  pollen,  sullen,  woollen,  but  the  common  words 
fallen,  stolen,  swollen  suppress  the  e,  and  come  under  the 
general  rule. 

Under  m  we  hay e  flamen,  hymen,  omen,  women,  and  the 
trisyllables  abdomen,  acumen,  bitumen,  cerumen,  legumen, 
regimen,  specimen,  and  the  polysyllable  catechumen.  Under 
n  we  have  linen  and  under  r  the  words  barren,  siren,  warren. 


VERBAL   EXPRESSION  151 

There  are  a  few  scattering  words  that  retain  the  e, 
and  that  cannot  be  grouped  under  any  head.  The  more 
common  are  aspen,  chicken,  Eden,  hyphen,  kitchen^  lichenj 
marten.  Some  admit  of  two  pronunciations,  one  sounding 
the  e,  the  other  suppressing  it ;  as,  mitten,  sloven,  sudden. 
The  following  are  of  rare  occurrence:  bounden,  jerken, 
batten,  mynchen,  paten,  patten,  platen,  roven^  ticken,  wicken, 
yewen. 

9.  ery. — When  the  e  takes  the  secondary  accent  it  is 
short;  as  in  monastery,  dysentery,  presbytery.  When  the 
primary  accent  falls  on  the  antepenult  the  e  is  coalescent ; 
as  in  mastery,  livery,  lottery,  discovery,  flowery. 

10.  il. — Words  ending  in  unaccented  il  sound  the  i. 
These  words,  like  those  ending  in  el  and  the  exceptions  in 
en,  are,  by  many  readers  and  speakers,  often  incorrectly 
pronounced.  A  diligent  practice  upon  the  following 
words  will  therefore  be  profitable :  anvil,  cavil,  civil,  council, 
fossil,  fiisU,  pencil,  peril,  pupil,  lentil,  vigil.  When  two  con- 
sonant sounds  precede  the  il  in  the  same  syllable,  and  in 
words  of  three  or  more  syllables,  the  short  i  sound  is  less 
liable  to  be  slighted  or  omitted ;  as  in  April,  nostril,  tendril, 
tranquil,  codicil,  utensil.  In  the  three  words,  evil,  weevil, 
devil,  the  i  is  silent. 

11.  in. — The  sound  of  short  i  should  be  carefully  pre- 
served in  cabin,  bobbin,  robin,  griffin,  coffin,  muffin,  virgin, 
urchin,  dolphin,  welkin,  gherkin,  firkin,  goblin,  javelin,  muslin, 
pippin,  florin,  resin,  rosin,  latin,  matin,  satin,  spavin,  ruin. 
The  words  raisin,  basin,  cousin,  ravin  suppress  the  i  in  the 
terminal  syllable. 

12.  idc. — Among  the  most  uncertain  and  unsatisfactory 
subjects  in  the  realm  of  orthoepy  are  the  terminations  ide. 
He,  ine,  and  ite.  In  most  monosyllables  and  accented  syl- 
lables the  silent  e  in  such  a  situation  reaches  back  over 
the  intervening  consonant,  and  makes  the  i  long ;  as  in 
wide^  file,  pine,  site.     But  in  unaccented  syllables  and  in 


152  ADVANCED   ELOCUTION 

those  having  a  secondary  accent  there  is  but  little  to  guide 
us  in  determining  whether  the  vowel  sound  is  long  i,  or 
short  i.  To  increase  the  difficulty  the  dictionaries  and 
orthoepists  are  themselves  greatly  at  variance. 

The  chemical  terms  hromule^  chloride^  iodide^  oxide,  sul- 
phide, should  be  pronounced  with  short  i.  While  author- 
ity may  be  found  for  pronouncing  them  or  some  of  them 
with  ^071^  i,  the  tend3ncy  is  toward  short  i,  and  uniformity 
of  usage  is  thereby  secured.  To  pronounce  some  of  them 
with  long  i  and  others  with  short  i  only  increases  the  con- 
fusion and  uncertainty  already  existing.  Where  uni- 
formity and  simplicity  of  pronunciation  can  be  secured 
without  a  violation  of  the  forms  sanctioned  by  the  best 
authorities,  there  should  be  a  willingness  on  the  part  of 
readers  and  speakers  to  conform  to  such  usage,  even  at 
the  sacrifice  of  a  preferred  form  of  pronunciation. 

13.  ile. — Accent  on  the  penult  tends  to  make  the  i  in 
the  terminal  syllable  ile  short;  as  in  agile,  fragile, facile, 
docile,  subtile,  reptile,  fertile,  hostile,  futile,  servile,  sterile,  pro- 
jectile, bissextile.  To  this  rule  there  are  a  few  exceptions ; 
as  in  edlle,  exile^  gentile. 

When  the  primary  accent  falls  upon  the  antepenult 
there  is  a  gain  of  stress  by  the  time  the  ultimate  is 
reached  that  is  almost  or  quite  equal  to  a  secondary  ac- 
cent. This  tends  to  make  the  i  in  the  terminal  syllable 
long ;  as  in  reconcile,  crocodile,  chamomile,  eoUpile,  infantile 
(or  -tU).  To  this  rule  there  are  some  exceptions ;  as  in 
imbecile,  juvenile,  versatile,  mercantile,  in  which  the  i  is  short. 

14.  ine. — The  pronunciation  of  this  terminal  syllable  is 
the  most  irregular,  uncertain,  and  unsatisfactory  of  all. 
The  influence  of  accent,  according  to  the  previous  note, 
should  make  the  i  short  in  the  ine  termination  of  dissyllables 
whose  accent  falls  on  the  first  syllable.  The  following 
words  conform  to  that  rule,  although  some  of  them  are 
often  mispronounced:  ben'zine,  bro'mine,  chlorine,  corvine. 


VERBAL  EXPRESSION  153 

citrine  J  destine,  doctrine ,  engine,  ermine,  famine,  jasmine^  mar' 
Une^  lupine  (or  I),  morphine,  myrrhine,  pristine,  rapine,  san- 
guine, turbine,  vulpine.  But  the  following  require  long  i  : 
bovine,  carbine,  carmine,  cervine,  co-sine,  errhine,  feline,  out- 
line,  quinine,  strychnine  (or  -nine),  vaccine  (or  -chie).  Even 
those  dissyllables  that  take  the  accent  on  the  ultinjate  are 
often  mispronounced  either  by  misplacing  the  accent  or 
changing  the  vowel  in  the  last  syllable  to  long  e.  The  fol- 
lowing should  be  pronounced  as  marked  :  calcine',  can'ine', 
saline' ,  supine' ,  trephine'  (or  -ene). 

The  following  trisyllables  and  polysyllables  also  require 
long  i:  asinine,  aquiline,  brigandine,  brigantine  (or  -tin'), 
calcimine,  cannabine,  capitoline,  celandine,  columbine,  concu- 
bine, crystalline,  eglantine  (or  -tin),  infantine  (or  -tin), 
interne' cine,  leonine,  metalline,  muscadine,  porcupine,  saccha- 
rine (or  -rln),  saturnine,  serpentine,  sibylline,  superfine,  syca- 
mine, turpentine,  valentine.  The  following  proper  adjectives 
and  nouns,  often  mispronounced,  also  take  long  i :  Appe- 
nine,  Argentine,  Palestine,  Palatine,  Alpine  (or  -pin),  Aldine 
(or -dXn),  Byz'antine  (or  By-zan' tine) ,  Clementine  (or  -thi), 
Florentine  (or  -tin),  Lev'antine  (or  Le-van'thie). 

Many  words  of  three  or  more  syllables  require  short  L 
The  following  take  the  accent  on  the  j)enult :  adamantine^ 
Alexandrine,  amaranthine,  Augustine,  clandestine,  determine, 
examine,  elephantine,  hyacinthine,  Euxine,  illumine,  imagine, 
intestine,  predestine.  These  also  require  short  i,  and  take 
the  accent  upon  the  antepenult :  alkaline  (or  -line),  celestine, 
coralline,  discipline,  feminine,  gelatine,  genuine,  heroine,  iodine 
(or  -dine),  Jacohine,  jessamine,  libertine,  masculine,  medicine, 
nectarine,  nicotine,  palatine,  paraffine,  vespertine,  Philippine, 
Tripoline,  tourmaline. 

In  a  comparatively  few  words  the  i  of  the  ine  termina- 
tion takes  the  sound  of  long  e.  The  following  are  the  most 
important :  machine,  marine,  ravine,  routine,  sabine! ,  sar'dine 
{ov  -din),  bombazine,  gabardine,  guillotine,  magazine,  quarau" 


k 


154  ADVANCED   ELOCUTION 

tine,  submarine.  Guard  carefully  against  sounding  the  i 
like  long  e  in  the  following :  ben'zine,  bro'mtnCj  brig'anfme 
(or -tin),  eglantine  (or -tin),  calcine',  carbine,  morphine,  nieo- 
tine,  paraffine,  pristine,  quinine,  rapine,  strychnine  (or  -nin), 
turbine,  vac' cine  (or  -cln). 

15.  ite. — Less  difficulty  is  encountered  with  this  termi- 
nation than  with  any  other  of  this  group.  Most  of  the 
common  words  require  short  i;  as  definite,  exquisite,  favorite, 
hypocrite,  infinite,  opposite,  perquisite,  requisite,  respite.  The 
exceptions,  as  expedite,  parasite,  recondite,  which  require 
long  i,  are  so  familiar  as  rarely  to  be  mispronounced. 
Nearly  all  the  medical  and  chemical  terms,  as  aconite,  sul- 
phite, require  long  i,  as  also  do  the  terms  in  geology  and 
mineralogy  ;  as  albiie,  anthracite,  andalu'slte,  apatite,  bromite, 
chlorite,  chondrodUe,  diorite,  dolomite,  graphite,  hepatite,  in'- 
dicolite,  iolite,  kyanite,  lepid'olite,  malachite,  oolite,  rubellite, 
scapolite,  stalactite,  stalagmite,  syenite,  zeolite. 

16.  on. — When  the  unaccented  terminal  syllable  ends 
in  on  the  o  leans  toward  sliort  u,  but  in  most  cases  it  should 
be  pronounced  as  short  o;  as  in  ribbon,  cordon,  dragon,  gal- 
lon. 

When  the  o  is  preceded  by  c,  ch,  s,  t,  z,  it  is  usually  sup- 
pressed ;  as  in  bacon,  beacon,  deacon,  falcon  (  f aw' kn),  beckon, 
reckon,  reason,  treason,  season,  mason,  benison  (-zn),  venison 
(^-zn) ,  poison,  prison,  garrison,  damson  {-zn),  crimson  {-zn), 
parson,  person,  lesson,  cotton,  button,  glutton,  mutton,  blazon. 
To  this  rule  there  are  some  exceptions ;  as  piston,  lexicon, 
hori'zon,  which  sound  the  o. 

17.  ort. — The  o  of  the  unaccented  terminal  syllable  ort 
should  be  pronounced  with  coalescent  o,  tending  slightly 
toward  coalescent  u ;  as  in  effort,  comfort,  but  in  such  botan- 
ical terms  as  liverwort,  spearwort,  feverwort,  milkwort,  pipe- 
wort,  and  many  others  ending  in  wort,  the  terminal  syllable 
is  pronounced  like  ivurt. 

18.  ory. — In  words  ending  in  ory,  if  the  accent  falls  on 


VERBAL   EXPRESSION  155 

the  antepenult,  the  vowel  is  long  o,  with  a  short  quantity, 
and  tends  slightly  toward  coalescent  u  ;  as  in  theory^  mem- 
ory^ cursory^  illusory^  satisfactory.  If  the  accent  falls  on  the 
pre-antepenult,  or  earlier,  there  is  such  gain  in  stress  by 
the  time  the  o  is  reached  as  to  amount  almost  or  quite  to 
a  secondary  accent,  and  the  sharpness  of  the  long  o  is  much 
more  fully  preserved ;  as  in  'predatory ,  prefatory,  oh'ligatory, 
supererog'atory,  significatory. 

19.  ure. — This  termination  is  somewhat  uncertain. 
The  more  precise  orthoepists  require  a  well-preserved 
long  u,  slightly  clipped,  so  as  to  make  a  close  and  smooth 
union  with  t,  or  d,  or  whatever  consonant  may  precede. 
The  more  lenient  and  careless  authorities  permit  almost 
any  pronunciation  that  will  suggest  the  meaning  of  the 
word.  While  we  occasionally  hear  that  pedantic  and 
affected  pronunciation  which  puts  the  t  and  d  into  the 
penult  in  such  words  as  nature,  verdure,  often  with  a  slight 
hiatus  before  the  u,  we  much  more  frequently  hear  that 
coarse  articulation  which  changes  the  t  to  ch,  and  the  d  to 
;',  as  in  na'-chur,  ver'-jur.  With  practice  it  is  possible  for 
the  clumsiest  tongue  to  form  a  close  and  easy  union  of 
the  consonants  t  and  d  with  the  long  u,  slightly  clipped, 
and  thus  to  preserve  a  chaste  and  elegant  pronunciation 
of  tliat  long  list  of  words  ending  in  ure.  Practice  upon 
the  following  words  will  tend  to  establish  a  correct  habit 
in  the  use  of  this  termination:  verdure,  figure,  tenure^ 
feature,  creature,  stature,  fracture,  lecture,  picture,  structure, 
culture,  vulture,  venture,  capture,  rapture,  scripture,  torture, 
pastiire,  gesture,  moisture,  posture,  future,  fixture,  ligature, 
miniature,  temperature,  literature,  legislature,  agriculture^ 
architecture,  peradventure,  intermixture. 

Those  who  would  change  long  u  into  long  oo  after  j,  as 
in  June,  jurist,  juniper,  would  also  change  the  long  u  in 
such  words  as  injure,  perjure,  into  long  or  short  oo,  and 
some,  perhaps,  into  coalescent  u.     But  long  u  may  follow  j 


156  ADVANCED  ELOCUTION 

in  monosyllables  and  accented  syllables,  and  there  is  no 
good  reason  for  changing  it  in  the  unaccented  syllables 
above  referred  to.  The  absence  of  the  accent  will 
obscure  the  vowel  slightly,  and  cause  it  to  bend  toward 
short  00. 

As  long  ^t  cannot  follow  the  sound  of  sh^  or  its  cognate 
2/i,  the  vowel  sound  in  the  lire  termination  of  such  words 
is  changed  by  some  authorities  to  long  oo,  by  others  to 
sho7't  00 J  and  by  still  others  to  coalescent  u.  The  best  cur- 
rent usage  is  quite  uniform  in  favor  of  skur  and  zhur  as 
applied  to  the  words  in  frequent  use,  and,  for  the  sake  of 
uniformity,  the  words  less  commonly  used  should  follow 
the  same  law ;  as  censure,  pressure,  fissure,  tonsure,  pleasure, 
measure,  treasure,  leisure,  closure,  composure,  exposure,  erasure, 
seizure. 

20.  tie. — In  the  termination  tie  following  s,  the  t  and  e 
are  both  suppressed,  leaving  /  to  form  the  last  syllable ;  as 
in  castle,  nestle,  pestle,  trestle,  wrestle,  thistle,  whistle,  epistle, 
bristle,  gristle,  jostle,  apostle,  bustle,  hustle,  rustle. 

PHONETIC   ANALYSIS 

There  is  no  exercise  superior  to  that  of  phonetic  analy- 
sis for  securing  correctness,  as  well  as  distinctness  of  i)ro- 
nunciation.  The  clearly  defined  enunciation  of  the  in- 
dividual sounds,  the  close  and  smooth  union  of  these 
sounds  in  syllables  with  attention  to  the  modifications  of 
the  sounds  which  such  combination  implies ;  the  proper 
division  of  the  word  into  syllables ;  the  correct  accent  as 
applied  to  the  several  syllables  of  the  word ;  the  due  sub- 
ordination of  the  unaccented  syllables,  all  combine  to 
render  the  subject  of  plionetic  analysis  the  most  im23ortant 
in  the  whole  realm  of  orthoepy. 

In  the  class-room  it  will  also  be  found  very  helpful  as  a 
means  of  enabling  the  teacher  to  test  the  pu^jils'  knowl- 


VERBAL   EXPRESSION  157 

edge  of  pronunciation.  To  hear  each  member  of  a  class 
of  forty  or  fifty  pupils  pronounce  a  list  of  thirty  words 
would  involve  much  more  time  than  is  commonly  as- 
signed to  a  single  recitation  ;  but  a  class  of  a  hundred  or 
more  persons  could  write  the  analysis  of  that  number  of 
words,  compare  them  with  the  teacher's  analysis  on  the 
blackboard  and  report  the  result,  all  within  an  hour. 

A  wide  experience  in  the  work  of  orthoepy  leads  the 
writer  to  conclude  that,  notwithstanding  the  noble  efforts 
that  are  being  put  forth  in  the  elementary  schools,  many 
persons  have  a  very  limited  knowledge  of  the  elements 
of  spoken  language.  The  work  of  phonetic  analysis,  as 
set  forth  in  this  volume,  will,  therefore,  begin  with  the 
very  first  steps,  and  gradually  lead  to  the  more  advanced 
work.  If  the  pupils  already  have  some  knowledge  of  the 
work,  the  first  eight  or  ten  exercises  may  be  taken  hur- 
riedly or  be  entirely  omitted,  as  the  teacher  may  deter- 
mine. 

SUGGESTIONS. 

1.  Prolong  each  word  in  the  following  exercise,  and  listen  care- 
fully to  the  sounds  made  in  its  utterance. 

2.  Make  the  prolonged  sounds  of  equal  length  so  far  as  possible. 

3.  Note  that  the  sounds  in  the  syllables  no  and  lo  have  vocality, 
and  that  the  first  element  in  the  syllables  so  and  ho  is  merely 
breath  un vocalized. 

4.  Ear  traininj^  is  the  important  thing  at  this  stage  of  the  work. 
The  teacher  should,  therefore,  ask  only  such  questions  and  make 
such  suggestions  as  will  stimulate  interest  and  inquiry,  hut  should 
not  confuse  the  mind  of  the  pupil  with  a  multiplicity  of  details. 


Exercise   1 

no 

man 

sun 

net 

map 

lo 

fan 

fun 

let 

lap 

so 

men 

sin 

sip 

met 

ho 

fen 

fin 

lip 

set 

5.  The  explosive  aspirates  t  and  p  cannot  be  prolonged,  but  they 
should  be  neatly  struck. 


158  ADVANCED   ELOCUTION 

6.  The  short  e  and  short  i  in  the  previous  exercise  should  be  held 
firmly,  and  not  suffered  to  slide  into  long  a  and  long  e. 

7.  To  inspire  confidence,  the  first  three  or  four  exercises  may  be 
first  spelled  by  the  class  in  concert,  but  this  should  be  followed 
in  the  same  lesson  by  individual  work.  With  children  who  have 
had  no  instruction  in  word  analysis  it  is  better,  in  the  first  eight 
or  ten  exercises,  to  hmit  the  work  to  the  analysis  for  sound,  and 
afterward  review  with  instruction  in  the  application  and  use  of 
the  diacritical  marks.  With  adult  students  and  with  children 
who  have  had  previous  instruction  in  sound  analysis,  the  use  of 
diacritical  notation  may  begin  with  the  first  exercise  and  continue 
regularly  throughout. 


Exercise  2 

lad 

beg 

bid 

band 

bold 

mad 

get 

din 

snug 

dust 

sad 

keg 

not 

glad 

yelp 

pad 

wed 

win 

jest 

wend 

8.  The  above  exercise  introduces  several  new  elements,  includ- 
ing the  difficult  sounds  of  6,  d,  and  g.  Strive  to  secure  a  strong, 
firm,  vocalized  sound  of  these  three  letters,  being  careful  to  avoid 
the  very  common  error  of  beginning  or  ending  the  sounds  with 
an  obscure  form  of  short  u, 

9.  Except  k,  p,  and  t,  prolong  the  sounds,  as  before,  giving  as 
much  quantity  as  possible  to  b,  d,  and  g. 


Exercise  3 

cash 

both 

when 

marsh 

midst 

shun 

thin 

whelp 

charm 

thump 

bench 

blush 

smash 

trench 

bunch 

child 

shrub 

tramp 

chest 

thrash 

10.  Call  attention  to  the  aspirate  digraphs,  sh,  ch,  th,  and  whf 
and  explain  how  certain  sounds  require  two  letters  to  represent 
them. 

11.  The  letter  r  has  a  trilled  sound  before  a  vowel  as  in  shrub, 
tramp,  trench,  thrash,  but  is  smooth  after  the  vowel,  as  in  marsh, 
charm.  Drill  upon  the  two  forms  until  the  distinction  is  not  only 
clearly  understood  but  also  easily  made.      Such  words  as  begin 


VERBAL   EXPRESSION 


159 


with  thr,  as  thready  threCj  thrice,  thrill,  etc.,  have  been  found  helpful 
ip  getting  the  trilled  r. 


Exercise  4 

toil 

found 

sing 

than 

bide 

spoil 

bound 

fling 

them 

dine 

broil 

ground 

song 

thus 

note 

soil 

south 

swung 

that 

wine 

12.  Call  attention  to  the  vowel  digraphs  (diphthongs)  oi.  and  ou 
in  tiie  first  and  second  columns  ;  and  to  the  consonant  digraph  ng 
in  the  third.  The  ng  is  a  simple  elemementary  sound  and  must 
not  end  with  a  g  sound. 

13.  Note  the  difference  between  the  vocal  th  of  the  fourth  col- 
umn, and  the  aspirate  th  in  the  third  exercise. 

14.  Note  the  silent  terminal  e  in  the  fifth  column  and  its  influ- 
ence upon  the  preceding  vowel  of  the  same  word.  Compare  these 
words  with  those  of  the  third  column  in  Exercise  2. 


Exercise  5 

seek 

moon 

wall 

fare 

far 

weed 

rood 

hall 

pare 

par 

spleen 

spool 

yawl 

care 

car 

green 

doom 

pawn 

tare 

tar 

15.  Note  the  vowel  digraphs  ee  and  oo;  the  influence  of  II  upon 
a  ;  the  influence  of  silent  w  upon  a;  and  of  silent  e  upon  the  pre- 
ceding vowel  in  the  fourth  column.  Compare  columns  four  and 
five. 


Exercise  6 

feat 

cull 

shown 

daunt 

earth 

great 

full 

drown 

pause 

hearth 

bear 

rush 

grown 

said 

road 

fear 

bush 

brown 

braid 

broad 

16.  Note  how  ea  in  the  first  and  fifth  columns  represents  five 
different  sounds  ;  how  u  in  full  and  bush  represents  short  oo;  how 
oWy  au,  ai,  and  cay  in  the  third,  fourth,  and  fifth  columns  repre- 


160 


ADVANCED  ELOCUTION 


sent  various  sounds.     State  which  are  the  usual  and  which  the 
exceptional  sounds,  and  illustrate  by  the  use  of  additional  Avords. 


Exercise   7 

sail 

deign 

brief 

guide 

soul 

plaid 

seize 

friend 

buUd 

rout 

said 

eight 

died 

suit 

route 

aisle 

sleight 

sieve 

suite 

would 

17.  Beginning  with  the  above,  the  exercises  may  profitably  be 
used  for  oral  pronunciation  as  well  as  for  written  analysis. 


Exercise  8 

quaff 

brass 

last 

clasp 

prance 

staff 

mass 

mast 

gasp 

trance 

craft 

pass 

past 

grasp 

ant 

draft 

lass 

cast 

rasp 

chant 

graft 

grass 

ask 

chance 

grant 

haft 

glass 

bask 

dance 

pant 

raft 

fast 

cask 

lance 

blanch 

shaft 

blast 

task 

glance 

branch 

18.  In  districts  where  the  use  of  intermedlctie  a  is  not  current, 
practice  upon  the  above  list  should  be  repeated  until  every  pupil 
can  strike  the  vowel  sound  with  accuracy  and  confidence,  and,  if 
possible,  until  he  has  learned  to  use  it  unconsciously  in  his  reading 
and  conversation.  Refer  to  the  rule  governing  the  use  of  inler- 
mediale  a,  page  101. 


Exercise  9 

balm 

calf 

bath 

first 

burst 

palm 

half 

path 

serge 

surge 

calm 

aunt 

laugh 

earn 

urn 

psalm 

daunt 

launch 

pearl 

purl 

19.  In  all  the  written  analyses  after  the  third  exercise  the  words 
should  be  rewritten  by  the  pupil,  omitting  all  silent  letters,  and 
making  the  necessary  substitution  of  the  letters  in  order  to  secure 


VERBAL  EXPRESSION 


161 


the  best  representative  characters  for  the  several  sounds.  For 
how  use  ou,  and  not  ow;  for  gem  use  j,  and  not  g;  for  cat  use  ^,  and 
not  c,  etc. 

20.  Remember  that  constant  repetition  is  indispensable  to  the 
establishment  of  the  habit  of  correct  pronunciation. 

21.  Carefully  avoid  the  substitution  of  sfurrl  a  for  Italian  a  in 
the  first  three  columns  of  the  foregoing  exercise.  See  Note  18 
under  Exercise  8.  Insist  upon  the  vowel  distinctions  in  the 
fourth  and  fifth  columns. 


Exercise  10 

car 

carry                      carol 

carter 

mar 

marry                    marital 

martyr 

her 

herring                   herald 

herbage 

sir 

sirrah                     sirup 

sirloin 

for 

torrid                     foreign 

formal 

fur 

furrow                    borough 

furnace 

myrrh 

myrrhine               myriad 

myrtle 

22.  Note  the  normal  sound  of  the  vowels  a,  e,i,  o,  u,  y,  when  fol- 
lowed by  r,  as  in  the  first  column.  The  a  is  Italian  ;  the  c,  o,  and 
u  take  tlie  coalescent  sound ;  the  i  and  y  in  the  first  column  are 
identical  with  e.  While  Italian  a  is  often  found  unaccompanied 
by  r,  as  in  fMh,  calf,  palm,  all  the  other  vowel  sounds  in  the  first 
column  are  determined  by  the  letter  r,  and  are  called  coalescents. 

23.  Note  that  the  accented  vowels  in  the  second  and  third  col- 
umns are  short  a,  e,  i,  o,  u,  quite  unlike  the  vowel  Founds  of  the 
first  column.  The  change  is  in  conformity  to  the  following  law, 
which  is  very  broad  in  its  application :  When  a  vowel  followed 

BY  r  TERMINATES  AN  ACCENTED  SYLLABLE,  AND  THE  NEXT  SYLLABLE 
BEGINS  WITH  r  OR  A  VOWEL,  THE  VOWEL  IN  THE  ACCENTED  SYLLA- 
BLE TAKES  ITS  SHORT  SOUND.  To  this  rulc  wc  liavc  a  few  excep- 
tions, consisting  chiefly  of  derivative  adjectives  ending  in  ry  and 
ish,  as  txirry,  starry,  furry,  currish,  in  which  the  vowel  sound  in  the 
primitive  word  undergoes  no  change. 

24.  Note  that  when  the  r  is  followed  by  another  consonant  the 
vowel  before  the  r  has  its  normal  sound.     See  fourth  column. 

25.  The  sound  of  short  u  with  r,  as  mfurrcm,  borough,  hurry,  is 
not  found  in  the  utterance  of  many  i)erson8,  although  in  strict  con- 
formity with  the  law  as  stated  in  Note  23  above.  Give  it  careful 
practice  until  the  pupil  is  able  to  sound  it  correctly  and  easily. 

11 


162 


ADVANCED   ELOCUTION 


Exercise   11 

chance 

chants 

patience 

patients 

tense 

tents 

presence 

presents 

dense 

dents 

commence 

comments 

sense 

cents 

frequence 

frequents 

mince 

mints 

penitence 

penitents 

prince 

prints 

affluence 

affluents 

26.  After  the  written  and  oral  analysis  of  the  above  words,  pro- 
nounce them  in  pairs,  as  chance,  chants,  tense,  tents,  and  bring  out 
the  distinction  clearly  and  sharply. 


Exercise   12 

anger 

conquer 

vanquish 

congratulate 

banquet 

congress 

extinguish 

congressional 

finger 

hunger 

congregation 

congruity 

linguist 

bungle 

manganesian 

concomitant 

27.  Note  that  when  n  terminates  an  accented  syllable  and  the 
next  syllable  begins  with  the  sound  of  g  or  k,  the  lettern  repre- 
sents the  sound  of  ng.  Even  the  secondary  accent,  as  in  the  last 
two  words  of  the  third  column,  preserves  the  ng  sound,  but  when 
there  is  no  accent  on  the  syllable  ending  with  n,  as  in  the  words 
of  the  fourth  column,  the  n  takes  its  own  sound. 

Exercise   13 

bomb  bombard  bombazine  knowledge 

come  comely  company  hautboy 

some  comfort  comfiture  financier 

plover  compass  somebody  guaranty 

28.  Note  that  o  frequently  represents  the  sound  of  short  u,  as  in 
the  words  of  the  first  three  columns. 

Exercise   14 

exact  exhale  exhalation  excellence 

exert  exhaust  exercise  expedition 

exist  exhibit  exhibition  extemporize 

example  exhort  execrate  extravagance 


VERBAL   EXPRESSION 


163 


29.  Note  that  x  takes  the  sound  of  gz  when  it  is  immediately 
followed  by  an  accented  syllable  beginning  with  a  vowel  (see  first 
column);  also,  when  the  accented  syllable  following  begins  with  h 
(see  second  column).  When  x  is  followed  by  a  syllable  beginning 
with  /i  or  a  vowel,  but  which  does  not  have  the  accent,  or  when  it 
is  followed  by  a  consonant,  regardless  of  the  place  of  the  accent, 
it  takes  the  sound  of  ks  (see  third  and  fourth  columns). 

Exercise   15 


disaster 

dismal 

within 

forthwith 

discern 

disdain 

without 

herewith 

disease 

dishonest 

withhold 

therewith 

dissolve 

dishonor 

withstand 

wherewith 

30.  In  many  monosyllables  the  terminal  s  represents  the  sound 
of  z,  as  in  05,  is,  has,  his,  was,  does,  goes.  In  a  few  words  the  s  of 
the  prefix  dis  also  takes  the  z  sound  (see  first  and  second  columns). 
On  many  words,  however,  the  authorities  are  divided. 

31.  The  th  of  the  prefix  with  takes  the  subvocal  sound,  as  in  tJiat, 
them.    When  employed  as  a  suffix,  usage  is  divided. 


Exercise 

16 

aspen 

hymen 

fallen 

gospel 

chicken 

omen 

stolen 

rebel 

hyphen 

women 

swollen 

squirrel 

kitchen 

abdomen 

soften 

chattel 

lichen 

acumen 

chasten 

shekel 

marten 

bitumen 

listen 

shrivel 

32.  See  rules  foi 

•  en  and  el  terminations,  pages  149  and  150. 

Exercise 

17 

assuredly 

amazedness 

cavil 

pupil 

confessedly 

composedness 

civil 

evil 

designedly 

blessedness 

fossil 

weevil 

confusedly 

confusedness 

pencil 

devil 

33.  Adverbs  formed  by  adding  ly,  and  nouns  formed  by  adding 
ness  to  verbs  ending  in  ed,  sound  the  e  in  the  ed  syllable. 

34.  See  rules  for  il  termination,  page  151. 


164 


ADVANCED    ELOCUTION 


lengths 
breadths 
widths 
depths 


plough 
dough 
cough 
tough 


Exercise   18 
hough 
through 
weight 
height 


manoeuvre 
extraordinary 
telegraphy 
sardonyx 


35.  Avoid  the  faulty  forms  lenx^  tenths,  lenktJis  in  the  pronuncia- 
tion of  the  first  word  ;  brets,  bretths,  breds  in  the  pronunciation  of 
the  ^cond ;  wits,  wiUhs,  wids  in  the  third ;  and  deps,  debths  in  the 
fourth. 


Exercise   19 


with 
booth 
beneath 
bequeath 


placard 
bouquet 
tartaric 
research 


bronchitis 
meningitis 
laryngitis 
peritonitis 


circuit 
blackguard 
spouse 
blouse 


36.  The  first  four  words  require  vocal  th,  and  are  frequently 
mispronounced. 

37.  Medical  terms  ending  in  ills,  like  those  in  the  third  column, 
take  long  i  with  the  accent  on  the  penult.  Do  not  substitute 
loTig  e. 

Exercise  20 

cracked  crutch  thoracic  splenetic 

decked  blotch  spasmodic  politic 

blocked  much  soporific  catholic 

picked  such  balsamic  climacteric 

38.  Silent  c  usually  intervenes  between  a  single  vowel  and  k;  as 
in  flecked,  knocked.  Between  a  vowel  digraph  and  k  the  c  does  not 
appear  ;  as  in  soaked,  leaked,  looked. 

39.  Between  a  single  vowel  and  the  consonant  digraph  ch,  the 
letter  t  usually  intervenes  ;  as  in  catch,  wretch,  hitch.  In  such  case 
the  t  must  be  regarded  as  silent,  and  the  digraph  ch  be  given  its 
normal  sound,  as  in  chin  ;  or,  if  the  t  be  sounded,  the  digaph  ch 
must  be  regarded  as  an  equivalent  for  sh,  as  in  chaise.  The  words 
much,  such,  which,  rich,  are  exceptions  to  a  very  general  rule.  Like 
c  in  the  words  of  the  first  column,  the  t  is  omitted  before  ch  when 
a  vowel  digraph  precedes  ;  as  in  peach,  broach,  crouch. 


VERBAL   EXPRESSION 


165 


40.  Adjectives  ending  in  ic  usually  take  the  accent  upon  the 
penult ;  as  intrinsic,  forensic,  antarctic.  There  are  a  few  exceptions  ; 
as  impolitic^  lunatic,  and  the  words  found  in  the  fourth  column. 


Exercise 

21 

think 

sugar 

truths 

blatant 

clank 

coffee 

youths 

swarthy 

uncle 

truffle 

breaths 

stolid 

monkey 

cupboard 

heaths 

strata 

41.  Note  that  n  before  k  in  the  same  syllable  represents  the 
sound  of  ng.  Compare  the  sound  as  represented  by  n  in  the 
words  thin  and  think.    See  Note  27  under  Exercise  12. 

42.  In  forming  the  plural  of  nouns  whose  singular  ends  in  aspi- 
rate th,  this  sound  usually  changes  to  vocal  th  and  the  s  sound 
changes  to  z,  as  in  baths,  wreaths,  oaths,  paths,  months.  Such  excep- 
tions as  truths,  heaths,  broths,  are  often  mispronounced. 


Exercise 

22 

viscount 

borealis 

wiseacre 

troche 

squalor 

tribunal 

transition 

tepid 

sojourn 

truculent 

trilobite 

plover 

suffice 

tyrannic 

sepulture 

conjure 

feline 

acclimated 

horizon 

adverse 

canine 

chastisement 

albumen 

adult 

brigand 

communist 

amateur 

allies 

basalt 

antarctic 

contrary 

adept 

43.  In  such  words  as  suffice,  tyrannise,  acclimated,  communist,  allies, 
the  student  is  often  in  doubt  whether  to  use  a  single  or  a  double 
consonant  in  his  analysis.  Orthoepists  themselves  are  at  vari- 
ance. 

If  we  hear  but  one  n  in  any,  it  is  evident  that  we  hear  but  one 
in  penny.  There  are  as  many  t  sounds  in  pity  as  in  pretty.  There 
are  more  p  sounds  in  oppose  than  in  choppy  ;  more  in  appear  than 
in  happy.  The  following  rule  will  meet  the  case  :  }Vhen  the  accent 
falls  upon  tJie  first  of  a  double  consonant,  use  but  one  in  the  written 
analysis;  when  tlie  accent  falls  upon  tlie  second,  use  both. 


166 


ADVANCED    ELOCUTION 


Exercise  23 


address 

composite 

condolence 

!           coquetry 

archives 

colportage 

sulphuric 

corridor 

assets 

subsidence 

defalcate 

lethargic 

aroma 

promulgate 

objurgate 

integral 

caloric 

mischievous 

controvert 

overseer 

occult 

enervate 

illustrate 

virago 

extant 

gondola 

vehement 

expletive 

ally 

sacristan 

orchestra 

inquiry 

Exercise  24 

diverse 

connoisseur 

pyramidal 

aureola 

contour 

umbrageous 

allopathist 

sublunary 

penult 

allegiance 

camelopard 

officinal 

pretence 

convenient 

contumacy 

matutinal 

portent 

herbaceous 

periphrasis 

athenaeum 

compeer 

immediate 

reparable 

telegraphist 

frontier 

surveillance 

secretory 

prolocutor 

construe 

congenial 

secretary 

hymeneal 

Exercise  25 

excise 

hegira 

excretory 

perfunctory 

quinine 

ambrosia 

suicidal 

approbative 

ornate 

biennial 

coliseum 

legislature 

overt 

aphelion 

capillary 

capitoline 

decade 

convivial 

isothermal 

recognizance 

recess 

courteous 

provocative 

compensative 

bestial 

peculiar 

quadrupedal 

chalcedony 

genius 

bounteous 

legislative 

mediaeval 

VERBAL   EXPRESSION 


167 


Exercise  26 

surnamed 

combatable 

pedagogy 

reconnoissance 

tedious 

ambrosial 

neuralgia 

inconvenience 

caisson 

conservator 

ameliorate 

receptivity 

nuncio 

comparable 

emollient 

pharmaceutist 

patois 

recitative 

palliative 

ignominious 

suavity 

photographer 

rationale 

irrefragable 

satiate 

refutable 

egregious 

Christianity 

fealty 

respirable 

parhelion 

homoeopathic 

ExfeRcisE  27 

alien 

apotheosis 

reciprocity 

portfolio 

series 

demoniacal 

omniscient 

peculiarity 

genial 

appreciate 

irrefutable 

ingratiate 

ratio 

magnesia 

plagiarism 

sociality 

trivial 

bestiality 

fiduciary 

indicatory 

spaniel 

ingenious 

impartiality 

magnolia 

sentient 

ingenuous 

discourteous 

auxiliary 

jovial 

pecuniary 

octogenary 

irrevocable 

Exercise  28 

hideous 

finale 

sociable 

substantiate 

cordial 

junior 

bivouac 

ingredient 

zouave 

glacial 

guardian 

superficies 

jujube 

folio 

mollient 

prescience 

morale 

ordeal 

casualty 

nescience 

banian 

premier 

breviary 

initiate 

nausea 

javelin 

nauseous 

flageolet 

hygiene 

inertia 

unctuous 

beauteous 

168 


ADVANCED   ELOCUTION 


irreparably 

fragmentarily 

illimitable 

peremptorily 

dicotyledonous 

inexplicably 

indissolubly 

lamentably 


Exercise  29 

monocotyledonous 

trigonometrically 

obligatorily 

chirographically 

encyclopediacal 

exemplarily 

incomparably 

incorporeality 


incommensurability 

hypochondriacally 

indem  onstrableness 

intercartilaginous 

irrefragability 

paleontologically 

unparliamentarily 

plenipotentiary 


Those  who  find  difficulty  in  pronouncing  long  words 
having  many  syllables  should  practice  upon  the  above  list 
until  an  easy  enunciation  is  secured.* 

General  Exercises. 


1.  He  uttered  a  sharp,  shrill  shriek  and  was  lost  in  the 
shroud  of  shifting  mists. 

2.  He  burst  his  bonds  and  sprightly  sprang  upon  the 
furious  foe. 

3.  His  hand  in  mine  was  fondly  clasped  as  we  stiffly 
stood  and  gasped  for  breath. 

4.  He  twists  his  texts  to  suit  the  sects. 

5.  Rejoiceth  not  in  iniquity,  but  rejoiceth  in  the  truth. 

6.  As  a  man  thinketh,  so  is  he. 

7.  Why  did  the  fly  fly  ?     Because  the  spider  spied  her. 

8.  The  cross  old  dog  sat  on  a  log  and  watched  the  frog 
as  he  croaked  in  the  bog. 


*A  convenient  Httle  volume,  entitled  "Handbook  of  Pronun- 
ciation," published  by  The  Penn  Publishing  Company,  Philadel- 
phia, will  be  found  helpful  in  determining  the  pronunciation  of 
the  unusual  words  in  the  foregoing  lists. 


VERBAL  EXPRESSION  169 

9.  His  song  was  strong  though  not  very  long,  and  then 
it  grew  soft  and  was  lost  in  the  loft. 

10.  The  stupid  duke  grew  enthusiastic  over  the  super- 
ficial gewgaw. 

II. 

1.  The  superintendent  presented  the  juvenile  students 
with  tulips  and  chewing  gum. 

2.  The  jubilant  suitor  played  his  lute  under  the  spread- 
ing juniper  tree. 

3.  The  dubious  duke  duped  the  tuneful  junior  and 
created  a  ludicrous  tumult. 

4.  The  hurrying  current  furrowed  a  path  through  the 
slumbering  borough. 

5.  Jack  Strapp  took  Jack's  strap  to  mend  Jack's  trap. 

6.  It  will  pay  nobody.     It  will  pain  nobody. 

7.  Deep  in  unfathomable  mines 

He  treasures  up  his  bright  designs. 

8.  Goodness  centers  in  the  heart.     Goodness  enters  in 
the  heart. 

9.  His  cry  moved  me.     His  crime  moved  me. 

10.  That  morning,  thou  that  slumber'dst  not  before, 
Nor  sleep'st,  great  Ocean,  laid'st  thy  waves  at  rest, 
And  hush'dst  thy  mighty  minstrelsy. 

III. 

1.  The  advancing  lance  chanced  to  glance  and  passed 
the  panting  mastiff's  head. 

2.  The  dancing  lass  quaffed  off  her  glass,  and  danced 
and  pranced  to  the  entrancing  lute. 

3.  This   shaft  was  grasped  by  the  gasping  class,  who 
passed  the  flask  and  quaffed  a  drauojht. 

4.  Tlie  learned  hermit  stirred  the  herbs  with   certain 
earnestness. 


170  ADVANCED    ELOCUTION 

5.  He  read  the  thirty-third  chapter  and  the  first  verse 
with  earnest  fervor. 

6.  The  nervous  merchant  served  the  thirsty  Jersey  man 
with  gherkins,  perfumes,  sperm-oil  and  thermometers. 

7.  The  universal  verdict  was  first  rehearsed  by  the  ner- 
vous clerk. 

8.  The  turbulent  furrier  burst  the  bars  and  hurled  his 
purse  into  the  seething  surge. 

.  9.  The  dauntless  captain  of  the  staunch  and  jaunty 
launch  laughed  at  his  wrathful  aunt,  twirled  his  mustache 
and  proceeded  to  take  his  bath. 

10.  The  last  stanza,  describing  the  severest  storm  of  the 
season,  was  the  best. 


VISIBLE    EXPRESSION    OR   GESTURE 

"Her  flesh  was  the  soft,  seraphic  screen  of  a  soul.''— Robert  Brownixo. 

Visible  Expression  is  that  which  addresses  itself  to  the 
eye.  It  mirrors  thought  and  feeling  in  attitudes  of  the 
body,  directions  of  the  arm,  positions  of  the  hand,  and  ex- 
pressions of  the  face.  In  a  sense,  it  is  a  universal  lan- 
guage, and  although  the  characteristic  manifestations  may 
differ  among  different  nationalities,  the  spirit  thereof  can- 
not be  mistaken.  What  is  true  regarding  nationalities  is 
also  true  of  the  individual.  Heredity,  temperament,  and 
environment  may,  and  do  modify  the  modej  but  every 
human  being  expresses  himself  by  the  same  Natural 
Laws.  The  mode  may  be  finished,  easy,  and  artistic,  or 
it  may  be  crude,  faulty,  and  ungraceful,  while  not  infre- 
quently, in  those  who  have  little  command  of  muscle  or 
nerve  force,  it  degenerates  into  meaningless  motions  and 
grimaces,  so  that  the  entire  tract  of  visible  expression, 
like  an  "  unweeded  garden,"  is  in  need  of  cultivation. 
True,  one  with  an  untutored  manner,  possessing  a  keen, 
analytic  mind,  a  kind  and  generous  heart,  and  a  finished 
rhetoric,  may  convince  and  please  his  hearers ;  but  if  his 
expressive  powers  are  made  commensurate  with  his  other 
gifts  he  will  not  only  satisfy  his  audience,  but  by  this 
added  irresistible  force,  will  turn  conviction  and  .pleasure 
into  entrancement  and  delight.  Expression,  both  visible 
and  vocal,  has  attracted  the  attention  of  many  minds  since 
it  became  one  of  the  lost  arts  of  the  Greeks.  By  some  it 
is  regarded  as  belonging  only  to  the  stage  ;  by  others  as  a 
spontaneous  outgrowth  of  instant  thought  or  feeling,  and 
consequently  not  susceptible  of  being  taught.  On  the  con- 
trary, it  is  not  restricted  in  any  sense  to  the  public  plat- 
forrrij  but  enters  into  all  life  everywhere,  whatever  its  con- 

171 


l72  ADVANCED   ELOCUTION 

dition  or  surroundings.  Consciously  or  unconsciously,  it 
is  the  factor  in  the  majority  of  our  impressions  of  others, 
and  its  powers  may  be  greatly  enlarged  and  enriched  and 
made  highly  demonstrative. 

In  cultivating  the  Physical  part  of  our  Being  so  as 
to  reflect  the  thought  and  feeling,  it  is  needful,  first, 
to  acquire  command  of  muscle  and  nerve  force ;  second, 
to  understand  the  Principles  or  General  Laws  controlling 
Expression  and,  third,  to  apply  these  principles  in  exer- 
cises for  practice,  allowing  the  speaker  to  express  the 
varying  degrees  which  belong  to  the  different  conditions 
and  emotions,  according  to  his  conceit  or  fancy. 

All  art  is  more  or  less  imitative ;  yet,  after  certain  me- 
chanical processes  have  been  learned,  the  speaker  should 
cease  to  think  of  principles  and  allow  his  mind  and  feel- 
ing to  play  at  will,  for  he  has  become  strong  in  his  own 
liberated  powers. 

GYMNASTICS 

'•  All  means  that  conduce  to  health  can  neither  be  too  painful  nor  too  dear." 
—Montaigne. 

Valuable  as  is  physical  exercise  for  every  one,  it  be- 
comes especially  so,  for  all  who  aim  to  move  the  masses, 
by  the  power  of  thought  and  feeling,  as  it  is  manifested 
through  grace,  eloquence,  and  potency  of  expression. 

It  is  through  the  outward  or  physical  nature  that  the 
inner  part  of  the  being  manifests  itself,  and  whatever  can 
be  done  to  render  the  outer  more  pliable  and  more  re- 
sponsive is  preparing  the  way  to  free  and  effective  de- 
livery. In  no  way  can  this  be  done  so  well  as  through 
physical  training — not  indeed,  through  growth  of  power- 
ful muscle  but  through  the  education  and  mastery  of  muscle 
and  the  training  of  nerve  force. 

Gymnastics  as  now  taught  in  this  country,  under  the 


VISIBLE   EXPRESSION    OR   GESTURE  173 

German,  Swedish,  and  French  or  Delsarte  systems,  is 
naturally  divided  into  Medical,  Martial,  Educational,  and 
iEsthetical  gymnastics,  and  each  of  these  has  its  appro- 
priate place  and  value  in  reference  to  grace,  health,  and 
physical  development.  The  exercises  presented  in  this 
work  are  divided  into  Educational  and  ^sthetical  Gym- 
nastics, and  are  formulated  upon  the  systems  already 
named. 

Educational  Gymnastics^  for  their  distinctive  purpose,  aim 
to  secure  mastery  of  the  muscles  through  the  agency  of 
the  will ;  to  give  them  tone,  vigor,  and  pliancy ;  to  render 
the  body  elastic  in  balancing  and  poising  and  to  give  gen- 
eral freedom  of  movement ;  all  of  which,  in  addition,  are 
conducive  to  health. 

JEsthetical  Gymnastics,  which  are  likewise  excellent  as 
health  exercises,  contribute  more  specifically  to  ease  of 
posture,  to  harmony  and  rhythm  (the  constituent  ele- 
ments of  grace),  and  to  the  training  of  the  body  and  its 
members  as  instruments  of  Expression. 

Suggestions  Preliminary  to  the  Practice  of  Exercises 
The  Dress 

A  regulation  costume,  such  as  is  used  in  gymnasiums, 
can  be  adopted  if  desired,  and  the  whole  eiTect  made 
pleasing  to  the  eye,  though  it  is  not  necessary  for  successful 
practice ;  but  it  is  very  essential  that  the  clothing  be  light 
in  weight,  and  so  adapted  as  not  to  restrict  the,  move- 
ments. Full  freedom  must  be  given  to  neck  and  liml)S, 
and  no  abnormal  pressure  or  weight  should  bear  upon  the 
more  vital  parts.  For  ladies  a  loose  undenvaist  should 
be  worn  to  which  the  skirt  of  the  dress  is  attached,  and  a 
blouse  waist  or  sailor  jacket  may  complete  the  dress.  In 
these  days,  when  women  are  taking  a  just  pride  in  being 
healthful,  it  is  not  to  be  presumed  that  any  one  with 


174  ADVANCED    ELOCUTION 

common  sense,  will  attempt  to  practice  any  gymnastics  in 
society  dress,  tight  waist,  or  stays. 

Gentlemen,  in  practicing,  should  lay  aside  cuffs,  collar, 
coat,  vest,  and  suspenders ;  or  what  is  better  still,  wear  a 
negligee  shirt,  with  pantaloons  adjusted  by  a  belt.  The 
shoes  for  both  sexes  should  be  light,  low  ones  without 
heels,  in  order  that  the  ankles  may  be  unrestricted  and 
strengthened. 

The  Practice 

A  word  of  advice  may  be  given  here  to  the  novice. 
In  exercising,  avoid  extremes.  Begin  and  close  exercises 
gently,  doing  the  more  vigorous  work  between.  Avoid 
standing  in  drafts,  but  have  the  air  in  the  room  cool  and 
pure.  Exercise  symmetrically,  so  that  the  different  parts 
of  the  body  may  be  evenly  developed.  Do  not  call  into 
action  muscles  that  are  not  required  in  a  given  exercise. 
Be  careful  to  tension  and  stretch  muscles,  with  the  inter- 
vening relaxation,  but  avoid  jerks.  Whether  exercising 
yourself  or  directing  others,  make  the  exercises  a  positive 
pleasure — enjoy  them,  enter  into  them  with  enthusiasm, 
and  study  with  an  artist's  eye  the  precision  and  harmony 
of  motion  and  poise.  Practice  patiently  and  regularly, 
and  do  not  be  discouraged  if  the  looked  for  results  are  not 
at  once  apparent.  Both  time  and  labor  are  required  to 
render  the  muscles  pliant  and  plastic.  In  all  exercises, 
breathe  freely  and  deeply  through  the  nostrils  and  not 
through  the  mouth,  and  never  practice  until  wearied.  If 
after  exercising  a  few  times  dizziness  occurs,  accompanied 
by  sharp  pains  under  the  shoulder  blades,  or  if  there  is 
a  too  rapid  or  irregular  heart  beat,  consult  a  physician 
before  proceeding  further,  as  serious  complications  may 
ensue. 


VISIBLE    EXPRESSION    OR   GESTURE  175 

EDUCATIONAL    GYMNASTICS 

Educational  Gymnastics  are  divided  into  Free  Work 
and  Calisthenics. 

Note.— No  attempt  is  made  to  include  heavy  apparatus  work— 
this  belongs  specifically  to  the  gymnasium,  and  is  not  essential  to 
the  object  in  view,  in  this  book. 

In  Free  Work  the  various  exercises  are  performed  with- 
out the  use  of  any  apparatus. 

In  Calisthenics  the  apparatus  is  moved  by  the  body, 
and  consists  of  exercises  or  drills  with  dumb-bells,  wands 
or  bar-bells,  rings,  clubs,  pulley  weights,  poles,  hoops, 
ropes,  foils,  and  broadswords. 

Exercises  of  special  use  to  students  in  oratory  are 
limited  to  free  work,  wands,  and  dumb-bells,  and  these  for 
convenience  and  development  are  arranged  in  groups  con- 
sisting of 

1.  Preliminary  Exercises. 

2.  Head  Exercises. 

3.  Trunk  and  Abdominal  Exercises. 

4.  Shoulder  Blade  Exercises. 

5.  Arm  Exercises. 

6.  Balance  Movements  and  Leg  Exercises. 

The  Preliminary  Exercises  are  for  the  purpose  of  secur 
ing  muscular    control,   correcting    basic    positions,   and 
attaining   poise   through  due   observance  of   the  law  of 
gravity. 

The  Head  Exercises  are  for  the  purpose  of  correcting  a 
hollow  chest  and  protruded  chin,  and  to  give  nobility  of 
carriage  to  the  entire  body. 

The  Trunk  and  Abdominal  Exercises  serve  to  expand  the 
chest,  straighten  the  spine,  strengthen  the  parts  about  the 
waist  and  the  walls  of  the  abdomen,  and  conduce  to  greater 
healthfulness  of  the  internal  organs. 


176  ADVANCED    ELOCUTION 

The  Shoulder  Blade  and  Arm  Exercises  give  strength  and 
tone  to  the  muscles  of  the  upper  extremities,  and  correct 
the  faulty  habit  of  drooping  shoulders  and  protruding 
shoulder  blades. 

The  Balance  Mavements  and  Leg  Exercises  serve  to  give 
ease,  grace,  and  celerity  in  motion,  as  well  as  dignity  to 
carriage  of  body. 

Note. — The  exercises  given  in  the  above  classification,  either 
singly  or  in  combination,  are  arranged  in  various  groups  or  orders, 
and  will  be  found  in  their  proper  connection  in  the  succeeding 
pages. 

Nomenclature 

For  Free  Work  and  Calisthenics  the  following  nomen- 
clature, now  used  mainly  in  Gymnasiums,  is  adopted. 
This,  if  followed,  in  connection  with  the  additional  ex- 
planations and  illustrations,  will  lead  to  a  ready  compre- 
hension of  the  exercises. 

The  term  Later al^  both  for  position  or  exercise,  means 
directly  to  the  side,  either  to  right  or  left,  as  may  be  indi- 
cated. 

Vertical  means  perpendicular  to  the  plane  of  the  horizon, 
or  in  same  direction  as  the  spine. 

Horizontal  means  parallel  to  the  horizon  in  any  direction 
from  the  body. 

Prone  means  turned  toward  the  earth. 

Supine  means  turned  from  the  earth. 

Rotation  means  moving  with  the  axis.  The  parts  or 
members  of  the  body  which  can  be  rotated  are  head, 
trunk,  arms,  and  thighs. 

Circumduction  means  moving  about  the  axis.  The  parts 
or  members  of  the  body  which  can  be  circumducted  are 
head,  trunk,  and  upper  and  lower  extremities. 

The  Flexors  and  Extensors  are  muscles  belonging  ex- 
clusively to  the  upper  and  lower  limbs,  hence  the  terms 


VISIBLE   EXPRESSION    OR    GESTURE  177 

flexion  and  extension  apply  only  to  exercises  relating  to 
them ;  as  we  flex  or  extend  forearms,  hands,  and  fingers, 
thighs,  legs,  and  feet. 

Half-flexion  means  to  flex  the  limb  to  right  angle. 

Bending  applies  to  exercises  of  head  and  trunk. 

Toe-touch  means  toe  alone  touches  the  floor. 

Lunge  or  Fall-out  means  that  the  foot  is  advanced  two  or 
three  times  its  own  length,  and  the  charging  limb  is  bent 
at  the  knee,  with  line  of  gravity  in  charging  limb. 

An  Oblique  or  Diagonal  motion  or  position  of  upper  or 
lower  limbs  is  in  a  direction  midway  between  front  and 
lateral,  or  lateral  and  back,  as  may  be  indicated. 

Arms  down  means  arms  hanging  down  at  side,  little 
finger  almost  touching  thigh. 

Rigid  means  limbs  or  body  stiffened. 

Heels  closed  means  placed  together,  toes  out  at  an  angle 
of  about  sixty  degrees. 

Hijps  firm  means  hands  on  hips,  fingers  front,  thumbs 
back,  elbows  in  line  with  shoulders. 

Knees  firm  means  lower  limbs  unbent  at  knees. 

Positions 

First  position  or  fundamental  position  is  standing  with 
heels  closed,  knees  firm,  hips  in,  and  arms  down  at  side, 
little  finger  almost  touching  thigh. 

Second  position^  or  wing  standing  position,  is  same  as  the 
first  position,  except  hips  are  firm. 

Stride  position  means  separating  the  closed  heels  once 
the  length  of  the  foot  sidewise. 

Parade  rest  position  is  right  foot  back  of  left,  with  hollow 
of  foot  near  left  heel,  line  of  gravity  in  right  limb,  left 
knee  slightly  relaxed. 

Standing  in  lengths  means  one  foot  in  advance  of  the 
other  according  to  distance  indicated. 
12 


178  ADVANCED   ELOCUTION 

Standing  in  widths  is  same  as  stride  position,  except 
according  to  distance  indicated. 

In  teaching  a  class  the  command  Class — Attention! 
means  that  when  the  second  word  is  given  the  pupils  take 
position  and  remain  quiet  for  the  next  order. 

Hold!  or  Halt!  means  a  pause  in  walk^  march  or 
exercise. 

The  command  Break  ranks — March!  means  that  the 
class  is  dismissed. 

The  teacher  should  count  aloud  for  the  class  until  the 
order  of  exercises  is  easily  remembered.  Good  music  is 
not  only  a  great  attraction,  but  inspiring  and  helpful  to 
both  pupils  and  instructor,  but  care  must  be  exercised 
that  it  does  not  lead  the  pupils  to  become  mechanical  or 
jerk3^  For  Free  Work  use  marches  and  polkas  ;  for  wands, 
marches  ;  for  dumb-bells,  marches  and  waltzes ;  for  march- 
ing and  fancy  steps,  slow  and  quick  marches  and  galops. 

Note. — Preliminary  to  the  regular  order  of  exercises,  and  as  an 
adjunct  in  securing  the  most  satisfactory  results  therefrom,  atten- 
tion is  directed  to  the  importance  of  standing  and  walking  pro- 
perly, practice  in  each  constituting,  also,  a  pleasing  and  healthful 
gymnastic.  With  these  may  be  fittingly  included  the  most 
approved  way  to  sit,  to  rise,  to  courtesy,  to  kneel,  and  to  bow. 

CARRIAGE   OF   BODY 

"  No  harmonious  movement  of  body  is  xrassible  without  a  correct  action  of  the 
muscles. ' ' — Quttm  ann. 

It  is  not  necessary  when  saying  "  that  good  health  de- 
pends upon  a  proper  carriage  of  the  body,"  to  substantiate 
the  statement  by  argument,  yet,  how  few  persons  while 
admitting  the  fact  practice  what  they  believe.  Ever  ready 
to  recognize  and  admire  the  elastic  step  and  majestic  mien, 
yet  they  fail  to  utilize  the  natural  endowments  of  which  they 
are  possessed.  While  it  is  not  desirable  that  every  one 
should  stand,  sit,  or  move  in  precisely  the  same  manner, 


VISIBLE   EXPRESSION   OR   GESTURE  179 

there  are  certain  rhythmic  laws  in  regard  to  both  posture 
and  attitude,  the  observance  of  which  will  conduce  to  health 
of  body  and  beauty  of  form,  without  in  the  least  interfer- 
ing with  diversity  in  manner,  bearing,  or  personality. 

As  the  proper  carriage  of  the  body,  especially  of  its 
vital  organs,  is  both  healthful  and  graceful,  it  is  neces- 
sary first  to  learn  the  appropriate  position  that  each  of 
its  members  should  take.     The   simplest  position   is   to 
place  the  heels  as  closely  together  as  the  contour  of  the 
lower  limbs  will  permit,  with  toes  turned  outward  at  an 
angle  of  about  sixty  degrees ;  the  knees  should  be  firm^  hips 
inward,  shoulders  on  line  with  hips,  head  easily  erect, 
with  crown  of  head  highest ;  chest  raised — that  is,  drawn 
upward,  thus  liberating  respiratory  organs  and  abdominal 
viscera.     Allow  weight  of  body  to  rest  on  balls  of  feet. 
Standing  thus,  the  line  of  gravity  falls  between  the  feet  near 
the  line  of  the  toes.     In  this  position  see  that  no  part  of 
the  body  is  unduly  tensioned,  and  that  all  the  sustaining 
muscles  are  in  tone,  but  pliant.     This  is  not  only  a  good 
position  for  a  proper  carriage,  but  it  is  a  fundamental  posi- 
tion in  the   regular  gymnastic  exercises,  and  from  this 
other  and  more  complex  positions  are  taken.     The  line 
of  gravity,  however,  must  not  be  broken  nor  distorted  in 
passing  from  one  basic  position  to  another,  for  if  this  hap- 
pens, the  entire  body  is  thrown  out  of  the  lines  of  both 
strength  and  grace.     The  lower  limbs  being  controlled  by 
special  laws  relating  to  the  centre  of  gravity,  the  line  of 
gravity  becomes  a  controlling  influence  in  standing  or  in 
moving,  and  any  variation  of  it  mars  the  whole  posture.* 


*The  great  care  which  painters  and  sculptors  exercise  upon  this 
very  point  when  placing  inanimate  figures  upon  canvas,  or  in 
chiseling  them  in  marble,  shows  how  important  in  their  estima- 
tion is  the  observance  of  this  rule.  Should  not  at  least  the  same 
care  be  taken  by  every  one  concerning  his  own  physical  being, 
when  the  object  is  health,  comfort,  capability,  and  beauty  ? 


180  ADVANCED  ELOCUTION 

Usual  Faults  in  Standing 

1.  Protruded  chin. 

2.  Hollow  or  relaxed  chest. 

3.  Protruded  hips  and  abdomen. 

4.  Toes  not  at  proper  angles. 

5.  Both  knees  relaxed. 

6.  Arms  hanging  too  far  forward. 

7.  Looseness  in  all  parts  of  the  body. 

8.  Over-nicety  in  all  parts  of  the  body. 

9.  Stiffness  in  all  parts  of  the  body. 

Exercises  Corrective  of  Faults  in  Standing 

1.  Stand  with  heels  closed  and  rise  on  toes. 

2.  Extend  arms  obliquely  forward  and  downward, 
palms  of  hands  toward  earth,  at  same  time  head  and  chest 
drawn  upward,  crown  of  head  highest.  Sustaining  this 
position,  let  hands  fall  easily  to  side. 

3.  Walk  about  room  with  light  weight  upon  head. 

4.  Walk  about  room  on  toes  with  stiff  knees. 

5.  Poise  body  forward  without  bending  in  hips  or  knees, 
carrying  line  of  gravity  to  toes,  from  toes  to  heels,  then  to 
right  side,  then  to  left  side.     Repeat  many  times. 

6.  Place  one  foot  three  or  four  inches  in  advance  of  the 
other  and  rise  on  toes. 

7.  Stand  at  the  side  of  a  room,  which  has  neither  sur- 
base  nor  other  projection  :  let  the  back  of  head,  shoulders, 
rump,  and  heels  touch  the  wall :  from  this  position  ad- 
vance several  paces,  retaining  the  upright  carriage  of  the 
body. 

Note. — The  carriage  or  position  should  be  that  in  which  one  can 
rise  upon  the  toes  without  swaying  the  body  forward  from  the 
ankles  or  bending  in  the  hips. 


VISIBLE   EXPRESSION   OR   GESTURE  181 


WALKING 

"  The  natural  gait  arises,  not  from  strength  of  muscle  (false  activity  of  the 
muscles),  but  from  the  law  of  flrar^."— Guttmann. 

Some  one  has  said  that  all  created  things  having  the 
power  of  locomotion,  except  man,  move  in  harmonious 
correspondence  with  the  law  of  their  nature.  He  alone 
hops  and  halts,  trudges  and  strides,  limps  and  ambles,  and 
moves  over  the  ground  in  a  variety  of  other  ways,  all  of 
which  are  in  opposition  to  the  rhythm  us  of  his  being. 
Much  of  this,  without  doubt,  is  due  to  the  environment 
incident  to  civilized  life,  more  to  the  burdens  imposed 
upon  humanity  by  the  dicta  of  fashion,  and  still  more 
to  carelessness  and  ease  of  self.  The  need  to  man  of 
walking  no  one  will  question.  It  is  an  absolute  necessity. 
To  walk  easil}''  and  well,  should  be  desired  by  every  one 
on  account  of  comfort  and  health ;  to  walk  elegantly, 
should  be  coveted,  for  it  is  an  art. 

When  the  right  muscles  are  exercised  and  a  proper 
pendulous  action  takes  place,  walking  becomes  a  pleasure, 
because  the  exercise  is  made  easy,  because,  in  itself,  it  is 
exhilarating,  and,  being  mostly  in  the  open  air  is,  for  both 
sexes,  a  most  healthful  gymnastic. 

Faults  in  Walking 

1.  Walking  with  weight  on  heels,  thus  jarring  spine. 

2.  Bobbing  body  up  and  down. 

3.  Rolling  gait. 

4.  Pitching  gait. 

5.  Strutting  gait. 

6.  Loose  or  shuffling  gait. 

7.  Hip  action. 

8.  Stiff  leg  (muscles  between  knee  and  ankle  strongly 
tensioned). 

9.  Unequal  or  irregular  step. 

Walking  may  be  termed  a  series  of  arrested  fallings, 


182  ADVANCED   ELOCUTION 

and  has  been  uniquely  defined  as  "a  steady  forward 
movement  of  the  torso  through  a  regularly  repeated 
action  of  the  lower  limbs."  In  other  words,  when  there 
is  an  impulse  to  move  the  body  forward,  the  line  of 
gravity  immediately  passes  to  one  foot  alone ;  the  other 
foot  is  then  loosened  from  the  earth  (the  heel  rising  first) 
and  the  knee  is  relaxed ;  the  muscles  between  the  knee 
and  ankle  are  relieved  of  tension,  and  the  limb  is  thrust 
forward  or  pried  over  in  a  lever-like  way  by  the  powerful 
muscles  of  the  thigh,  in  which  the  principal  action  in 
walking  takes  place.  The  foot  is  next  set  upon  the 
ground,  the  ball  of  the  foot  touching  first,  if  there  is  no 
artificial  heel  to  prevent ;  if  there  is,  the  heel  will  touch 
the  ground  first,  but  it  should  be  the  inner  part  of  the 
heel — that  is,  the  part  nearest  the  ball  of  the  foot,  and 
almost  simultaneously  with  this  should  be  the  touch  of  the 
ball  of  the  foot.  In  a  similar  manner  the  other  foot  is 
carried  forward,  the  repeated  movement  resulting  in  a 
pendulous  action  of  the  body — induced  by  the  forward 
shifting  of  the  line  of  gravity.  The  body  inclines  slightly 
forward,  to  accommodate  itself  to  these  changes,  but  must 
not  be  bent  at  the  hip.  The  head  should  be  held  easily 
but  not  stiffly  erect,  and  in  line  with  the  continu- 
ously advancing  limbs.  The  hands,  unless  supporting  or 
carrying  some  object,  should  be  down,  at  the  side,  and 
allowed  to  share  the  easy  pendulous  action  of  the  body, 
so  as  to  aid  rather  than  hinder  the  elasticity  of  the  step. 
For  comfort  and  grace  of  movement  the  length  of  the  step 
should  not  extend  beyond  the  length  of  one's  own  foot — 
that  is,  the  advancing  foot  should  be  carried  forward  until 
the  heel  is  distant  one  foot-length  from  the  toe  of  the 
stationary  one.  Of  course  when  pupils  are  moving  in  line 
this  cannot  be  so  precisely  followed.  Then  a  regulation 
step  must  be  adopted. 

In  presenting  the  mechanical  processes  of  good  walking 
no  attempt  is  made  to  correct  individual  peculiarities,  but 


VISIBLE    EXPRESSION    OR   GESTURE  183 

simply  to  render  it  possible  for  each  person  to  move  in 
accord  with  the  law  by  which  all  are  governed ;  nor  is 
there  any  attempt  to  repress  the  mood  which  may  be 
dominating  the  mind  and  which  often  influences  the  gait. 
The  perfection  of  walking  lies  in  a  movement  so  steady, 
that  one  is  reminded  of  the  gliding  of  a  boat  over  a  still 
stream,  or  the  skimming  of  a  swallow  through  the  air. 

All  exercises,  either  in  walking  or  marching,  should  be 
taken  in  gymnastic  shoes,  or  in  easy  shoes  of  light  weight, 
without  heels,  so  that  the  foot  may  have  as  nearly  as  pos- 
sible the  freedom  of  a  natural  step.  For  out-door  exercise 
the  shoe  should  be  stouter,  with  broad  soles  and  low,  flat 
heels. 

Walking  Backward 

The  backward  step  is  especially  valuable  as  an  exercise 
in  acquiring  ease  of  gait  and  agility  in  the  use  of  the  feet. 
It  should  be  carefully  practiced  by  all  who  are  engaged  in 
any  kind  of  platform  work,  and  also  by  those  in  other 
walks  of  life. 

In  walking  backward  the  inner  part  of  the  great  toe 
should  touch  the  floor  first,  then  the  entire  foot  sinks 
downward  in  its  place,  the  knees  being  turned  outward  to 
preserve  the  equilibrium.  Care  should  be  taken  not  to 
displace  the  line  of  gravity  by  drawing  head  and  shoulders 
forward. 

Exercises  Conducive  to  a  Free  and  Elastic  Step 

1.  Walking  or  marching  in  regular  step  (quick  and 
slow). 

2.  Walking  or  marching  on  toes. 

3.  Walking  or  marching  on  toes  with  stiff  knees. 

4.  Walking  or  marching  on  toes  with  alternate  knee 
bending. 

5.  Walking  or  marching  with  toe-touch  and  step. 


184  ADVANCED   ELOCUTION 

6.  Walking  or  marching  with  cross  step. 

7.  Walking  or  marching  on  toes  with  cross  step. 

8.  Walking  or  marching  with  toe-touch  and  cross  step. 

9.  Walking  or  marching  with  foot  crossing  and  knee 
bending. 

10.  Running  on  toes. 

11.  Walking  backward. 

12.  Running  backward. 

Note. — From  the  above  many  other  useful  combinations  in 
marching  may  be  made. 

SITTING 

To  assume  an  easy  and  upright  attitude  or  position  in 
sitting,  the  following  directions  should  be  observed :  Place 
one  foot  two  or  three  inches  back  of  the  other,  toes  of 
both  feet  outward,  the  heel  of  the  advanced  foot  toward 
the  hollow  of  the  backward  one.  Then  with  line  of  gravity 
in  backward  limb,  with  torso  inclined  forward,  and  head 
slightly  backward,  evenly  sink  to  seat. 

RISING 

In  preparing  to  rise,  place  the  feet  in  position  similar 
to  that  taken  in  preparing  to  sit,  with  weight  in  back 
limb  and  with  a  like  inclination  of  torso  and  head. 

COURTESYING 

In  courtesying  assume  the  same  general  position  and 
inclination  of  body  and  head,  bending  the  limbs  also  in 
the  same  manner  as  in  preparing  to  sit ;  except  that  the 
lengthwise  position  of  the  feet  should  be  increased,  espe- 
cially if  the  courtesy  be  profound.  While  the  posture  is 
held,  there  must  be  ample  bend  in  hips  and  back  knee. 

KNEELING 

To  kneel  easily  and  gracefully  place  one  foot  backward 
as  in  courtesying ;  then  with  a  similar  inclination  of  body 


VISIBLE  EXPRESSION   OR  GESTURE  185 

and  head,  the  line  of  gravity  in  forward  limb,  and  with 
slight  pressure  on  toes  of  backward  one,  sink  upon  re- 
treated knee.  In  so  doing  let  both  limbs  sustain  the 
weight  of  body ;  the  line  of  gravity  thus  falls  between  the 
feet.  On  assuming  an  upright  posture  slowly  carry  rear 
foot  forward  to  a  normal  position. 

BOWING 

Bowing  is  the  most  common  of  all  salutations,  and  con- 
sists ordinarily  of  simply  a  slight  inclination  of  the  head, 
but  if  occasion  demand,  it  may  be  the  deeper  and  more 
reverential  one  of  bending  the  body  at  the  hips.  Which- 
ever mode  is  used,  it  should  be  executed  evenly,  avoiding 
a  quick  or  hesitating  jerk. 

FREE  WORK 

Preliminary  Exercises 

Assume  first  position^  viz. :  Stand  with  heels  closed, 
knees  firm,  hips  in  and  arms  down  at  side,  little  finger 
almost  touching  side. 

1.  Exercise  the  various  joints  of  the  body  and  limbs  by 
flexion,  bending,  rotation,  and  circumduction. 

2.  Carry  right  hand  to  hip  three  or  four  times. 

3.  Carry  left  hand  same. 

4.  Carry  both  hands  same. 

5.  Raise  right  arm  rigid  to  horizontal  front,  palm  prone. 

6.  Left,  same. 

7.  Both,  same. 

Hips  firm.     See  page  177. 

8.  Walking  in  place.  (That  is,  stand  in  place  and  ex- 
ercise limbs  as  in  walking.) 

9.  Running  in  place.  (That  is,  stand  in  place  and  ex- 
ercise limbs  as  in  running.) 

10.  Hopping  in  place. 


186  ADVANCED   ELOCUTION 

11.  Extend  right  limb  rigid  to  right,  toes  pointing 
downward. 

12.  Left,  same. 

13.  Advance  right  foot  twice  or  three  times  its  length, 
to  oblique-front  right  and  fall-out  by  bending  right  knee. 
(Be  careful  to  preserve  harmony  of  muscular  action  from 
head  to  feet. ) 

14.  Return  to  position  and  do  same  with  left  foot. 
Assume  stride  position.     See  page  177. 

15.  Rise  on  toes  and  heels  alternating. 

16.  Rise  on  toes  and  flex  knees  to  sitting  position, 
thighs  touching  upturned  heels ;  rise  and  quickly  recover 
position. 

17.  Cross  right  foot  over  and  beyond  left  foot,  toes 
touching  floor. 

18.  Left  foot  same  over  right. 

19.  Rise  on  toes  with  closed  heels  and  flex  knees. 

20.  Respiratory  exercise.  (Inhale  freely  and  deeply 
through  nostrils.) 

Regular  Exercises 

The  following  exercises  are  in  groups,  arranged  in  sys- 
tematic order,  each  group  being  intended  to  call  into  action 
different  sets  of  muscles. 

First  Order 

Assume  wing  standing  position.     See  page  177. 

1.  Heel  elevation  (rise  on  toes)  eight  counts;  with 
music,  four  accented  beats. 

2.  Toe  elevation,  eight  counts ;  with  music,  four  accented 
beats. 

3.  Heel  and  toe  elevation  (alternating),  eight  counts; 
with  music,  four  accented  beats. 

4.  Trunk  bending  forward,  eighjt  counts;  with  music, 
four  accented  beats. 


VISIBLE   EXPRESSION   OR  GESTURE  187 

6.  Trunk  bending  backward,  eight  counts ;  with  music, 
four  accented  beats. 

6.  Trunk  bending  to  right,  eight  counts;  with  music, 
four  accented  beats. 

7.  Trunk  bending  to  left,  eight  counts ;  with  music, 
four  accented  beats. 

8.  Trunk  bending  and  rotation,  eight  counts;  with 
music,  four  accented  beats. 

Explanation. — In  eighth  exercise  bend  trunk  forward  on 
first  count,  then  without  elevating  body  rotate  to  right  on 
second  count,  backward  on  third  count,  left  on  fourth 
count,  front  on  fifth  count,  again  to  left  on  sixth  count, 
backward  on  seventh  count,  right  on  eighth  count,  and  lift 
body  to  position. 

Amis  folded  behind  back. 

9.  Head  bending  forward,  eight  counts ;  with  music, 
four  accented  beats. 

10.  Head  bending  backward,  eight  counts ;  with  music, 
four  accented  beats. 

11.  Head  bending  to  right,  eight  counts;  with  music, 
four  accented  beats. 

12.  Head  bending  to  left,  eight  counts ;  with  music,  four 
accented  beats. 

1 3.  Head  rotation  to  right,  eight  counts ;  with  music, 
four  accented  beats. 

14.  Head  rotation  to  left,  eight  counts;  with  music, 
four  accented  beats. 

15.  Head  bending  and  rotation,  eight  counts;  with 
music,  four  accented  beats. 

Follow  same  order  for  No.  15  as  that  given  for  trunk 
bending  and  rotation.  No.  8. 
Hands  clinched  on  chest, 

16.  Arm  extension  downward,  sixteen  counts  or  eight 
accented  beats. 

Explanation. — Extend    right    arm    downward    with 


188  ADVANCED    ELOCUTION 

clinched  hand,  four  counts :  left,  four  counts ;  alternate, 
four  counts ;  simultaneous,  four  counts. 

17.  Arm  extension,  horizontal  lateral,  sixteen  counts, 
eight  accented  beats. 

18.  Arm  extension,  vertical,  sixteen  counts,  eight  ac- 
cented beats. 

19.  Arm  extension,  horizontal  front,  sixteen  counts, 
eight  accented  beats. 

Arms  down.     See  page  177. 

20.  Flex  right  knee  (toes  of  right  foot  on  floor),  eight 
counts  or  four  accented  beats. 

21.  Flex  left  knee  (toes  of  left  foot  on  floor),  eight 
counts  or  four  accented  beats. 

22.  Alternate  right  and  left  knee  flexion  (foot  on  floor), 
eight  counts  or  four  accented  beats. 

Hands  closed  in  fists,  palms  facing  front. 

23.  Finger  extension  (spread  fingers  widely  apart),  eight 
counts  or  four  accented  beats. 

24.  Finger  extension  (arms  horizontal,  lateral),  eight 
counts  or  four  accented  beats. 

25.  Finger  extension  (arms  vertical),  eight  counts  or 
four  accented  beats. 

2G.  Finger    extension    (arms   horizontal,   front,   palms 
prone),  eight  counts  or  four  accented  beats. 
A7^ms  dotvn. 

27.  Alternate  foot  crossing,  arms  vertical,  finger-tips 
touching,  sixteen  counts  or  eight  accented  beats. 

Explanation. — On  first  count  cross  left  foot  over  right, 
toes  touching  floor,  at  same  time  arms  rise  to  vertical, 
finger-tijis  of  both  hands  touching  over  head ;  on  second 
count  return  to  position ;  on  third  count  right  foot  over 
left,  hands  again  to  vertical,  return  to  position  on  fourth 
count ;    repeat  thus  through  sixteen  counts. 

28.  Balance  exercise,  right  foot  forward,  eight  counts 
or  four  accented  beats. 


VISIBLE   EXPRESSION   OR   GESTURE  189 

In   this   position   sway  forward   and   backward,  alter- 
nately raising  heel  of  left  and  toe  of  right  foot. 

29.  Balance  exercise,  left  foot  forward  eight  counts  or 
four  accented  beats. 

30.  Stride  standing  position,  with  heel  elevation,  eight 
counts  or  four  accented  beats. 

Explanation. — Separate  feet  ten  or  twelve  inches  and 
rise  on  toes. 

Second  Order 

Position:  stand  with  closed  heels,  finger-tips  to  shoulders, 
elbows  lateral. 
Arm  extension. 

1.  Extend  right  arm  to  horizontal  front,  palm  prone, 
eight  counts. 

2.  Left  same,  eight  counts. 

3.  Both  same,  eight  counts. 

4.  Extend  right  arm   to  vertical,   palm  facing  front, 
eight  counts. 

5.  Left  same,  eight  counts. 

6.  Both  same,  eight  counts. 

7.  Extend  right  arm  to  horizontal  lateral,  palm  prone, 
eight  counts. 

8.  Left  same,  eight  counts. 

9.  Both  same,  eight  counts. 
Wing  standing  position. 

Foot  extension. 

10.  Extend  right  foot  forward,  toes  pointing  downward, 
eight  counts. 

11.  Left  same,  eight  counts. 

12.  Extend  right  foot  backward,  eight  counts. 

13.  Left  same. 

14.  Extend  right  foot  forward  and  backward  alternately, 
eight  counts. 

15.  Left  same. 


190  ADVANCED    ELOCUTION 

Arms  down. 

Arm  flexion  mid  extension. 

16.  Right  hand  to  shoulder  and  horizontal  front,  eight 
counts. 

Explanation. — On  first  count  carry  finger-tips  of  botli 
hands  to  shoulders ;  on  second  count  carry  left  arm  to 
horizontal  front,  palm  prone;  on  third  count  hack  to 
shoulder ;  on  fourth  count  arms  down.  Repeat  through 
remaining  four  counts. 

17.  Left  arm  same. 

18.  Both  arms  same. 

19.  Right  arm  to  vertical,  palm  facing  front,  following 
same  general  order  as  in  sixteenth  exercise. 

20.  Left  arm  same,  eight  counts. 

21.  Both  arms  same,  eight  counts. 

22.  Right  arm  to  horizontal  lateral,  following  same 
general  order  as  in  sixteenth  exercise. 

23.  Left  arm  same,  eight  counts. 

24.  Both  arms  same,  eight  counts. 
Lunges  with  arm  flexion  and  extension. 

25.  Lunge  or  charge  with  right  foot,  eight  counts. 
Explanation. — On  first  count  finger-tips  to  shoulders, 

second  count,  right  arm  to  horizontal  front,  palm  prone, 
same  time  charging  directly  forward  with  right  foot,  right 
knee  bent ;  on  third  count  recover  foot  position ;  on  fourth 
count  hands  down. 

26.  Same  exercise  reversed—  that  is,  with  left  foot  and 
left  arm,  eight  counts. 

27.  Same  with  right  foot  and  right  arm  to  right  lateral, 
eight  counts. 

28.  Same  reversed,  eight  counts. 

29.  Same  with  right  foot  and  right  arm  diagonally 
back,  right,  eight  counts. 

30.  Same  reversed,  eight  counts. 


VISIBLE   EXPRESSION    OR   GESTURE  191 

Trunk  bending  with  arm  flexion  and  extension, 

31.  Combination  to  right,  eight  counts. 
Explanation. — On  first  count  finger-tips  to  shoulders ; 

on  second  count  pivot  on  ball  of  left  foot  to  right,  at  same 
time  place  right  foot  three  or  four  inches  forward  to  right, 
turning  trunk  in  same  direction ;  on  third  count  bend  trunk, 
extending  arms  downward  until  finger-tips  nearly  or  quite 
touch  the  floor ;  on  fourth  count  straighten  body,  and  carry 
finger-tips  to  shoulders ;  on  fifth  count  do  same  as  on  third 
count ;  on  sixth  same  as  on  fourth ;  on  seventh  recover  foot 
position ;  on  eighth  count  arms  down. 

32.  Same  exercise  reversed,  or  to  left,  eight  counts. 

33.  Same  as  thirty-first  exercise,  except  to  oblique  back, 
right,  eight  counts. 

34.  Same  exercise  reversed,  or  to   oblique  back,  left, 
eight  counts. 

Wing  standing  position. 
Foot  Stretch  Exercise. 

35.  Right  foot — stretch,  eight  counts. 
Explanation. — On  first  count  place  right  foot  two  or 

three  inches  backward  on  toes  ;  on  second  count  lift  foot 
off  floor  and  stretch  it  backward  making  it  as  nearly 
straight  with  limb  as  possible,  at  same  time  incline  for- 
ward at  hips,  and  slightly  bend  knee  of  left  limb  ;  on  third 
count  straighten  body  and  place  foot  as  in  first  count ;  on 
fourth  count  return  to  position.  Repeat  exercise  through 
remaining  four  counts. 

36.  Left  foot — stretch,  eight  counts. 

37.  Standing  knee  flexion,  eight  counts. 
Explanation. — On  first  count  rise  on  toes ;  on  second 

count  bend  knees  outward,  and  sink  about  half  distance 
downward,  keeping  heels  close  together ;  third  count  same 
as  first ;  on  fourth  count  recover  position.  Repeat  exercise 
through  remaining  four  counts. 


192  ADVANCED  ELOCUTION 

Stretch  Exercises. 
Arms  down. 

38.  On  first  count  raise  right  hand  to  vertical,  palm  facing 
to  left ;  on  second  count  place  left  foot  directly  forward  three 
times  its  length  and  fall  out ;  on  third  count  recover  posi- 
tion ;  on  fourth  count,  arm  down.  Repeat  through  eight 
counts. 

39.  Do  same,  reversely,  eight  counts. 

40.  On  first  count  raise  right  arm  as  in  No.  38 ;  on 
second  count  stretch  left  limb  directly  backward  and  bend 
body  forward  at  hips,  body  and  left  limb  being  directly 
on  line ;  on  third  count  recover  position ;  on  fourth  count 
right  arm  down.     Repeat  through  eight  counts. 

41.  Do  same  reversely. 


Third  Order 

Position:  heels  closed^  arms  folded  behind  bach 
Diagonal  short  step. 

1.  Right  foot  diagonally  forward,  right,  eight  counts. 

Explanation. — On  first  count  place  right  foot  diago- 
nally forward  (midway  betAveen  front  and  lateral)  about 
three  inches,  retaining  line  of  gravity  in  left  foot;  on 
second  count  recover  position ;  repeat  the  exercise  through 
eight  counts. 

2.  Left  foot  same,  eight  counts. 

3.  Right  foot  diagonally  backward,  eight  counts. 

4.  Left  foot  same,  eight  counts. 
Arms  down. 

Rigid  arm  extension. 

5.  Right  arm  rigid  to  vertical  via  front,  eight  counts. 
Explanation. — On   first   count   carry  right   arm  with 

straight  elbow  and  wrist  to  perpendicular,  palm  facing  to 
left ;  on  second  count  return  it  to  position ;  repeat  through 
eight  counts. 


VISIBLE   EXPRESSION   OR   GESTURE  193 

6.  Left  arm  same,  eight  counts. 

7.  Both  arms  same,  eight  counts, 

8.  Right  arm  rigid  to  vertical,  via  lateral,  eight  counts. 

9.  Left  arm  same,  eight  counts. 

10.  Both  arms  same,  eight  counts. 
Arms  horizontal  front,  palms  facing. 

11.  Rigid  arm  extension  to  horizontal  lateral,  eight 
counts. 

Explanation. — On  first  count  carry  both  arms  with 
straight  elbow  and  wrist  from  front  to  lateral ;  on  second 
count  again  to  front;  repeat  the  exercise  through  eight 
counts. 

12.  Lateral  trunk  bending  with  pendulous  arm  action, 
sixteen  counts. 

Explanation. — Bend  body  at  hips  well  over  to  right, 
head  and  trunk  facing  front,  at  same  time  carry  arms  with 
graceful  swing  from  front  to  horizontal  lateral,  right,  and 
circling  upward  and  back  again  to  horizontal  front  as 
body  regains  position  (this  will  occupy  two  counts);  with- 
out pausing  front,  carry  body  and  arms  in  same  way  to 
left ;  repeat  through  sixteen  counts. 

Arms  down. 

Foot  crossing  with  toe-touch,  front  and  hack,  sixteen  counts. 

13.  Right  foot  crossing  with  toe-touch,  eight  counts. 
Explanation. — On  first  count  carry  right  foot  over  left 

foot  until  it  is  opposite  left  side  of  left  ankle,  toe  touching 
floor;  retain  position  on  second  count;  on  third  count 
swing  right  foot  round  to  fullest  extent  of  right  limb  until 
foot  is  back  and  to  left  of  left  foot,  toe  again  touching 
floor ;  hold  position  on  fourth  count ;  repeat  the  exercise 
through  three  counts,  regaining  position  on  eighth  count. 

14.  Do  same  with  left  foot,  eight  counts. 
Lateral  arm-swing  overhead. 

15.  Right  arm  swing,  eight  counts. 

Explanation. — On    first    count  carry  right  arm  via 
13 


194  ADVANCED    ELOCUTION 

lateral,  with  palm  outward,  up  and  over  head,  loose  elbow 
and  wrist,  finger-tips  directed  downward  and  almost 
touching  top  of  head ;  on  second  count  return  hand  down 
to  side ;  repeat  through  eight  counts. 

16.  Do  same  with  left  arm,  eight  counts. 

17.  Do  same  with  both  arms,  eight  counts. 
Arms  down  front,  fingers  loosely  intertwined. 

18.  Courtesy  exercise,  twenty-four  counts. 
Explanation. — On  first  count  place  right  foot  once  or 

more  its  length  back  and  somewhat  to  left  of  left  foot ;  on 
second  count  bend  body  strongly  in  hips  and  right  knee, 
at  same  time  extending  hands  forward  and  downward, 
with  fingers  interlocked  and  palms  outward;  on  third 
count  straighten  body  and  knee,  and  on  fourth  count 
return  to  position ;  repeat  through  remaining  four  counts. 
Do  same  in  reverse  order,  eight  counts;  do  same  alter- 
nately, eight  counts. 
Arms  down. 

19.  Poising  exercise  with  knee  flexion,  twenty-four 
counts. 

Explanation. — On  first  count  flex  right  knee  outward, 
carrying  heel  of  right  foot  to  knee  of  left,  at  same  time 
bring  right  hand  gracefully  up,  via  front,  overhead  and 
pendant,  and  left  hand  gracefully  near  chest,  finger-tips 
directed  inward;  on  second  count  return  to  position; 
repeat  the  exercise  through  eight  counts.  Then  do  same 
in  reverse  order,  eight  counts,  and  same  alternately,  eight 
counts. 

20.  Poising  exercise  with  heel  elevation,  thirty-two 
counts. 

Explanation. — On  first  count  place  right  foot  once 
its  length  forward,  and  carry  hands  to  same  position  as  in 
No.  19  ;  on  second  count  rise  on  toes ;  on  third  count  heels 
again  to  floor;  on  fourth  count  return  to  position;  repeat 
exercise  through  remaining  four  counts.     Do  same  re- 


VISIBLE  EXPRESSION  OR  GESTURE  195 

versely,  eight  counts,  then  turn  to  oblique-back  right, 
following  same  order,  eight  counts  j  do  same  reversely, 
eight  counts. 

Anns  down  frontj  fingers  loosely  intertwined. 

21.  Attitudes  diagonally  forward,  sixteen  counts. 
Explanation. — On  first  count  place  right  foot  once  its 

length  over  and  beyond  left  foot,  with  line  of  gravity  in 
right  foot,  left  on  toes,  at  same  time  bring  hands,  with 
intertwined  fingers  over  head  and  palms  upward,  head 
raised  and  eyes  looking  upward,  hold  attitude  through 
seven  counts,  on  eighth  return  to  position.  Do  same 
reversely,  eight  counts. 

22.  Attitudes  diagonally  backward,  sixteen  counts. 
Explanation. — On  first  count  place  right  foot  twice 

its  length  diagonally  back  right,  and  carry  hands  with 
interlocked  fingers  up,  over,  and  back  of  head,  allowing 
head  to  lie  in  hands,  thus  giving  it  support,  incline  trunk 
backward  on  line  with  left  limb  and  hold  position  through 
seven  counts,  returning  on  the  eighth  count  to  position. 
Do  same  reversely,  eight  counts. 

Fourth  Order 

Wing  standing  position. 

1.  Right  knee  flexion,  eight  counts. 
Explanation. — Raise  right  foot  backward  and  upward 

as  far  as  possible,  keeping  right  knee  parallel  with  left 
knee ;  repeat  through  eight  counts. 

2.  Left  knee  flexion,  eight  counts. 
Thigh  flexion. 

3.  Flex  right  thigh,  eight  counts. 

Explanation. — Raise  right  limb  forward,  knee  flexed 
until  toes  are  nearly  on  line  with  knee  of  left  limb. 

4.  Flex  left  thigh,  eight  counts. 


196  ADVANCED   ELOCUTION 

Rigid  limb  extension. 

5.  Right  limb  rigid  to  right  (toes  pointing  downward), 
eight  counts. 

6.  Left  limb  rigid  to  left,  eight  counts. 
Oblique  fali-outs.     See  page  177. 

7.  Right  oblique  fall-out,  eight  counts. 
Explanation. — On  first  count  place  right  foot  three 

times  its  length  forward  to  oblique-right ;  on  second  count, 
fall  out,  by  bending  knee  of  right  limb ;  on  third  count 
straighten  knee ;  on  fourth  count  recover  position.  Repeat 
the  exercise  through  remaining  four  counts. 

8.  Do  same  reversely,  eight  counts. 

9.  Do  same  backward  to  oblique-right  (pivoting  on  ball 
of  left  foot),  eight  counts. 

10.  Do  same  backward  to  oblique-left  (pivoting  on  ball 
of  right  foot),  eight  counts. 

Shoulder  blade  exercises. 

11.  Clasped  thrusts,  eight  counts. 

Explanation. — With  clasped  hands,  behind  back  at 
waist  line,  thrust  downward  four  times. 

12.  Palm  slide,  eight  counts. 

Explanation. — With  arms  extended,  horizontal  front, 
and  hands  palm  to  palm,  slide  hands  backward  and  for- 
ward without  bending  elbows  or  wrists. 

Arms  down. 

13.  Arm  extension  and  shoulder  shrug,  twenty-four 
counts. 

Explanation. — On  first  count  shrug  right  shoulder ;  on 
second  count  return  shoulder  to  position  ;  on  third  count 
raise  right  arm  to  horizontal  lateral,  palm  prone;  on 
fourth  count,  arm  down.     Repeat  through  eight  counts. 

14.  Left  same,  eight  counts. 

15.  Both  same,  eight  counts. 

16.  Right  hand  to  arm-pit  and  shoulder  (alternating), 
eight  counts. 


VISIBLE   EXPRESSION   OR   GESTURE  197 

Explanation. — On  first  two  counts  carry  fingers  of 
right  hand  to  right  arm-pit,  elbow  outward ;  on  next  two 
counts  carry  arm  outward  and  upward  and  inward  until 
finger-tips  rest  on  shoulder.  Repeat  the  exercise  through 
remaining  four  counts. 

17.  Do  same  with  left  hand,  eight  counts. 

18.  Do  same  with  both  hands  (alternating),  eight 
counts. 

19.  Do  same  with  both  hands  simultaneously,  eight 
counts. 

Arm  extension  rigid. 

20.  Right  arm  rigid,  eight  counts. 

Explanation. — On  first  count  raise  right  arm,  with 
rigid  elbow  and  wrist  to  horizontal  front,  palm  upward ; 
on  second  count,  carry  it  in  same  position  to  horizontal 
lateral ;  third  count  as  on  first,  and  on  fourth  count  down 
to  side.     Repeat  through  remaining  four  counts. 

21.  Do  same  with  left  arm,  eight  counts. 

22.  Do  same  with  both  arms,  eight  counts. 

23.  Swimming  exercise,  thirty-two  counts. 
Explanation. — Place  hands  close  to  chest  and  palm  to 

palm,  fingers  directed  forward.  On  first  count  advance 
right  foot  forward,  twice  its  length,  knee  firm,  left  foot  on 
toe,  at  same  time  carry  hands  palm  to  palm  directly  for- 
ward ;  on  second  count  carry  them  to  horizontal  lateral, 
palms  outward;  on  third  count  bring  hands  again  near 
chest.  Repeat  exercise  through  fifteen  counts,  recover 
position  on  sixteenth  count,  then  advance  left  foot  and 
repeat  the  exercise  through  fifteen  counts. 
Diagonal  fall-out  attitudes. 

24.  Right  diagonal  fall-out,  eight  counts. 
Explanation. — On  first  count  step  three  times  length 

of  foot  to  oblique  front,  right,  with  right  foot,  pivoting 
round  to  left  on  balls  of  both  feet  until  heel  of  left  is  on 
line  with  hollow  of  right,  right  limb  supporting,  knee 


198  ADVANCED    ELOCUTION 

slightly  bent,  carry  clasped  hands  to  left  shoulder,  head 
thrown  back,  chin  up,  hold  attitude,  recovering  position 
on  eighth  count. 

25.  Do  same  reversely,  eight  counts. 

26.  Do  same  diagonally  back  to  right,  looking  over  left 
shoulder,  eight  counts. 

27.  Do  same  diagonally  back  to  left,  looking  over  right 
shoulder,  eight  counts 

CALISTHENICS,  OR   APPARATUS   WORK 
Wands 

Explanation  of  Wand  Positions. 

Carry  Wand  means  wand  'perpendicular  and  resting 
against  right  shoulder,  lower  part  (about  ten  inches  from 
end)  held  between  first  two  fingers  and  thumb  of  right 
hand. 

Wand  Down  means  wand  horizontal  and  at  arm's  length, 
down  in  front,  hands  clasping  wand  as  far  apart  as  arms 
are  at  shoulders,  with  back  of  hands  front. 

Wand  Overhead  means  wand  clasped  as  in  wand  down, 
but  held  at  arm's  length  and  parallel  with  shoulders  over 
head. 

Parade  Rest  means  that  one  end  of  wand  is  placed  on 
floor  near  ball  of  left  foot,  the  other  end  of  wand  clasped 
with  both  hands  near  waist  line — basic  position,  same  as 
described  under  Parade  Rest  Position  in  Nomenclature. 

Exercises 

First  Order 
Wand  down. 

1.  Wand  to  horizontal  front,  eight  counts. 
Explanation. — On  first  count  carry  wand  with  both 
hands  and  extended  arms  to  horizontal  front ;  on  second 


VISIBLE   EXPRESSION   OR   GESTURE  199 

coun  return  wand  to  position  j  repeat  the  exercise  through 
eight  counts. 

2.  Wand  overhead  and  parallel  with  shoulders,  eight 
counts. 

Explanation. — Follow  same  order  as  in  Exercise  1,  ex- 
cept to  overhead. 

3.  Wand  to  chest,  eight  counts. 

Explanation. — On  first  count  carry  wand  up  to  and 
parallel  with  chest,  with  elbows  outward  and  above  wand ; 
on  second  count  wand  down.  Repeat  through  eight 
counts. 

Wand  overhead.    See  page  198. 

4.  Wand  down  to  chest,  eight  counts. 
Explanation. — On  first  count  carry  wand  from  overhead 

down  to  chest,  elbows  as  in  Exercise  3  ;  on  second  count 
back  to  position  over  head.     Repeat  through  eight  counts. 

5.  Wand  downward,  with  forward  trunk  bending,  eight 
counts. 

Explanation. — On  first  count  carry  wand  forward  and 
downward,  with  arms  extended,  bending  body  at  hips, 
knees  firm ;  on  second  count  straighten  body  and  return 
wand  to  position  overhead.     Repeat  through  eight  counts. 

6.  Wand  to  shoulders,  eight  counts. 
Explanation. — On  first  count  carry  wand  back  of  and 

parallel  with  shoulders ;  on  second  count  return  it  to  posi. 
tion  overhead.     Repeat  through  eight  counts. 

7.  Wand  to  chest  and  back  to  shoulders  alternating,  six- 
teen counts. 

Explanation. — Wand  to  chest,  as  in  fourth  exercise, 
except  alternating  with  wand  to  shoulders,  as  in  sixth 
exercise.     Repeat  through  sixteen  counts. 

8.  Wand  to  hips,  eight  counts. 

Explanation. — On  first  count  extend  right  hand  to 
extreme  end  of  wand ;  on  second  count  do  same  with  left ; 
on  third  count  extend  wand  horizontally  backward  and 


200  advanced'  elocution 

downward  to  hips;  on  fourth  count  again  to  position 
overhead;  on  fifth  count  again  to  hips,  repeating  thus 
through  eight  counts. 

9.  Wand  forward  with  trunk  bending,  and  backward  to 
hips,  sixteen  counts. 

Explanation. — On  first  count  carry  wand  forward  and 
downward,  as  in  fifth  exercise ;  on  second  count  wand  to 
position  overhead ;  on  third  count  same  as  in  eighth  exer- 
cise ;  on  fourth  count  overhead,  repeating  through  sixteen 
counts. 

10.  Wand  perpendicular,  with  lateral  trunk  bending, 
sixteen  counts. 

Explanation. — On  first  count  bend  trunk  to  right,  at 
^ame  time  carrying  wand  from  position  overhead  to  per- 
pendicular on  right  side,  right  hand  holding  end  of  wand 
down  at  arm's  length  near  thigh,  left  clasping  other  end  of 
wand,  with  forearm  above  head,  palm  facing  front;  on 
second  count  straighten  body  and  carry  wand  to  position 
overhead;  on  third  count  do  same  to  left.  Repeat  the 
exercise  through  sixteen  counts. 

11.  Wand  reversed  overhead,  eight  counts. 
Explanation. — On  first  count  carry  one  end  of  wand, 

with  right  hand,  to  front,   overhead;    on   second   count 
carry  the  other  end  of  wand  with  left  hand  to  front,  over- 
head.    Reverse  through  eight  counts. 
Wand  down. 

12.  Wand  to  chest  with  forearm  flexion,  eight  counts. 
Explanation. — On  first  count  bring  wand  horizontally 

to  chest,  elbows  against  intercostal  muscles ;  on  second 
count  wand  down.     Repeat  through  eight  counts. 

Second  Order 

Wand  in  carry  position.     See  page  198. 

1.  Wand  perpendicular  to  chest,  eight  counts. 

Explanation. — On  first  count  carry  wand  perpendicular 


VISIBLE   EXPRESSION   OR   GESTURE  201 

at  arm's  length  in  front  of  chest,  both  hands  (right  under 
left)  clasping  lower  end  of  wand ;  on  second  count  bring 
wand  in  to  chest,  elbows  strongly  outward.  Repeat 
through  eight  counts. 

2.  Wand  perpendicular  to  shoulders,  sixteen  counts. 
Explanation. — With    wand    perpendicular    at    chest 

where  it  is  brought  at  close  of  preceding  exercise,  on  first 
and  second  counts,  carry  wand  perpendicular  in  front  of, 
and  against  right  shoulder,  right  hand  clasping  wand  at 
arm's  length  down  at  thigh,  left  hand  fingers  pressing 
wand  against  right  shoulder ;  on  third  and  fourth  counts 
do  same  reversely,  changing  hand  position  in  front  of 
chest.  Repeat  exercise  through  remaining  twelve  counts. 
Wand  down. 

3.  Wand  overhead  with  foot  crossing,  sixteen  counts. 
Explanation. — On  first  count  carry  wand  parallel  with 

shoulders  at  arms'  length  overhead,  at  same  time  crossing 
right  foot  over  left,  with  toe-touch ;  on  second  count,  wand 
down,  and  foot  to  position ;  on  third  count,  wand  again 
overhead  and  left  foot  over  right ;  on  fourth  count  return 
to  position.  Repeat  thus  through  eight  counts.  Then  do 
same  with  one  foot  crossing  back  of  the  other  through 
eight  counts. 

4.  Wand  horizontal  on  shoulder  blades  with  lateral 
charge,  twenty-four  counts. 

Explanation. — On  first  count  carry  wand  to  horizontal 
position  on  shoulder  blades,  elbows  down  near  ribs,  at 
same  time  charge  directly  to  right  with  right  foot ;  on 
second  count  return  to  position,  retaining  wand  on 
shoulder  blades.     Repeat  the  charge  through  eight  counts ; 

I  then  same  to  left,  eight  counts ;  same  alternating,  eight 
counts. 
5.  Wand  on  shoulder  blades  with  forward  and  back- 
ward, trunk  bending. 
Explanation. — On  first  count  bend  body  forward  and 
i 


202  ADVANCED   ELOCUTION 

downward,  knees  firm  ;  on  second  count  recover  position ; 
on  third  count  bend  body  backward ;  on  fourth  count  same 
as  second.     Repeat  through  eight  counts. 

6.  Wand  on  shoulder  blades  with  lateral  trunk  bending, 
eight  counts. 

Explanation. — Follow  same  order  as  in  fifth  exercise, 
except  bending  alternately  to  right  and  left. 
Wand  down. 

7.  Wand  perpendicular  to  shoulders  and  horizontal  over- 
head, sixteen  counts. 

Explanation. — On  first  two  counts  carry  wand  per- 
pendicular to  right  shoulder,  right  hand  clasping  wand  at 
arm's  length  downward  at  thigh,  left  clasping  wand  at 
right  shoulder,  palm  of  hand  facing  front ;  on  third  and 
fourth  counts  wand  horizontal  overhead;  on  fifth  and 
sixth  counts  perpendicular  to  left  shoulder ;  on  seventh  and 
eighth  counts  wand  down.  Repeat  through  remaining 
eight  counts. 

8.  Wand  to  horizontal  front  and  overhead  with  foot 
placing. 

Explanation. — On  first  count  carry  wand  at  arm's 
length  to  horizontal  front,  at  same  time  place  right  foot  once 
its  length  forward ;  on  second  count  carry  wand  at  arm's 
length  overhead  and  backward,  again  placing  foot  once  its 
length  forward;  on  third  count  same  position  of  wand 
and  foot  as  on  first  count ;  on  fourth  count  wand  down 
and  foot  to  first  position.  Repeat  through  remaining 
four  counts,  then  do  same  with  left  foot  forward,  eight 
counts. 

9.  Wand  horizontal  to  chest  with  front  fall-out,  eight 
counts. 

Explanation. — On  first  count  carry  wand  horizontally 
to  chest,  and  at  same  time  step  forward  three  times  length 
of  foot  and  fall-out;  on  second  count  wand  down  and 
recover  position ;  on  third  count  step  forward  with  left 


VISIBLE  EXPRESSION  OR  GESTURE  203 

foot  and  recover  position.     Repeat  thus  through  eight 
counts. 

10.  Wand  horizontal  to  chest  with  lateral  arm  exten- 
sion, sixteen  counts. 

Explanation. — With  wand  to  chest  and  elbows  down 
on  first  two  counts  carry  wand  horizontally  to  right  with 
Yight  arm  fully  extended  along  barrel  of  wand  and  left 
hand  clasping  wand  at  chest ;  on  third  and  fourth  counts 
do  same  to  left.     Alternate  thus  through  sixteen  counts. 

11.  Wand  perpendicular  with  knee  rest  and  charge, 
sixteen  counts. 

Explanation. — On  first  count  lunge  forward  with  right 
foot  and  rest  end  of  wand,  which  is  clasped  by  right  hand, 
on  right  knee,  wand  perpendicular,  left  hand  clasping 
upper  end  of  wand  ;  on  second  count  bring  wand  down 
and  return  to  position ;  on  third  count  do  same  oblique- 
front,  right;  on  fifth  count  same  to  right  lateral;  on 
seventh  count  same  oblique-back,  right  and  return  to 
position ;  then  do  same  reversely,  eight  counts. 

12.  Wand  oblique,  with  oblique-front  charges. 

Explanation. — On  first  count  carry  wand  obliquely- 
back  of  trunk  as  far  as  arms  can  be  extended,  right  hand 
clasping  upper  end  of  wand  back  of  neck,  and  left 
clasping  lower  end  of  wand  back  of  left  thigh,  at  same 
time  lunge  to  oblique-front  right  and  hold  attitude  two 
counts,  return  to  position,  and  bring  wand  down  on  fourth 
count.  Repeat  exercise  four  counts.  Do  same  reversely, 
eight  counts. 

Third  Order 

Wand  down. 

1.  Wand  horizontal  with  forearm  rotation,  sixteen 
counts. 

Explanation. — On  first  count  place  wand  with  one 
hand  back  of  and  against  waist ;  then,  on  next  two  counts, 


204  ADVANCED    ELOCUTION 

clasp  ends  of  wand  with  both  hands  and  rotate  forearms 
through  remaining  thirteen  counts. 

2.  Wand  reversed  front  of  waist,  sixteen  counts. 
Explanation. — On  first  count  carry  wand  horizontally 

with  both  hands  from  preceding  position  back  of  waist 
over  head  and  down  in  front  of  waist ;  on  second  and 
third  counts  change  hand  positions,  bringing  them  within 
twelve  inches  of  each  other  on  the  wand ;  on  fourth  count 
reverse  wand  by  placing  right  forearm  along  and  over 
left  forearm ;  on  fifth  count  reverse  wand  by  placing  left 
forearm  along  and  over  right  forearm.  Repeat  thus 
through  remaining  sixteen  counts. 

3.  Wand  horizontal  overhead,  with  lateral  lunge, 
twenty-four  counts. 

Explanation. — On  first  count  carry  wand  to  horizontal 
overhead  and  toward  right,  at  same  time  lunge  to  right 
twice  length  of  foot ;  on  second  count  return  to  position, 
wand  resting  in  horizontal  position  back  of  neck.  Repeat 
through  eight  counts ;  same  to  left,  eight  counts ;  same 
alternating  right  and  left,  eight  counts. 

4.  Wand  horizontal  at  shoulder  blades,  with  arm-exten- 
sion downward,  sixteen  counts. 

Explanation. — On  first  count  carry  wand,  with  right 
hand  only,  backward  to  and  horizontal  with  shoulder 
blades ;  on  second  count  grasp  wand  with  left  hand,  back 
of  hands  facing  front,  thrust  downward  through  remaining 
sixteen  counts. 

5.  Wand  horizontal  front  and  to  chest,  sixteen  counts. 
Explanation. — On  first  count  carry  right  hand  from 

its  preceding  position  at  shoulder  blades  to  end  of  wand, 
changing  hand  position  so  that  palm  faces  front ;  on  sec- 
ond count  similarly  change  left  hand  position ;  on  third 
count  carry  wand  horizontally  overhead,  extending  it 
at  arm's  length  in  front  of  chest;  on  fourth  count,  with 
hands  as  far  apart  as  arms  are  at  shoulders,  bring  wand 


VISIBLE   EXPRESSION    OR   GESTURE  205 

horizontally  inward  to  chest,  elbows  down  close  to  side. 
Repeat  through  remaining  counts. 
Wand  down. 

6.  Wand  overhead,  with  lateral  trunk  bending  and  rota- 
tion, thirty-two  counts. 

Explanation. — On  first  count  carry  wand  horizontally 
overhead  ;  on  second  count  retain  wand  in  same  position, 
but  rotate  trunk  to  right;  on  third  count  bend  trunk 
downward,  with  knees  firm;  on  fourth  count  straighten 
body  ;  on  fifth  count  do  same  as  third ;  on  sixth  count  as  on 
fourth ;  on  seventh  count  as  on  first ;  on  eighth  count 
wand  down.  Repeat  the  exercise  through  eight  counts, 
then  do  same  reversely  sixteen  counts. 

7.  Wand  with  arm  extension  forward  and  balance 
movement,  sixteen  counts. 

Explanation. — On  first  count  carry  wand  at  arms' 
length  to  horizontal  front,  at  same  time  place  right  foot 
twice  its  length  forward,  with  line  of  gravity  in  right  foot ; 
on  second  count  sway  line  of  gravity  into  backward  limb 
and  bring  wand  horizontally  to  chest,  sway  forward  and 
backward  thus  through  eight  counts  with  a  motion  of  body 
and  arms  somewhat  like  that  used  in  rowing  ;  then  place 
left  foot  forward  and  repeat  exercise  through  eight  counts. 

8.  Wand  perpendicular  with  balance  movement  and 
head  turn,  sixteen  counts. 

Explanation. — On  first  count  with  hands  at  ends  of 
wand,  place  the  latter  horizontally  at  shoulder  blades ;  on 
second  count  advance  right  foot  twice  its  length  toward 
oblique-right  and  bend  trunk  slightly  in  right  hip,  with 
head  turned  backward  looking  downward  over  right 
shoulder.  Repeat  through  eight  counts.  Same  reversely, 
eight  counts. 

Stride  position,  wand  down. 

9.  Wand  perpendicular  with  right  and  left  pivot,  eight 
counts. 


206  ADVANCED    ELOCUTION 

Explanation. — On  first  two  counts,  pivot  on  balls  of 
feet,  facing  toward  right,  at  same  time  carry  wand  per- 
pendicularly in  front  of  and  against  right  shoulder,  right 
hand  extended  downward  along  barrel  of  wand,  left  hand 
grasping  wand  at  right  shoulder,  palm  facing  front ;  on 
next  two  counts  pivot  to  left  with  wand  perpendicular  at 
left  shoulder.  Repeat  exercise  through  remaining  four 
counts. 

10.  Wand  perpendicular,  with  front  and  back  pivot, 
eight  counts. 

Explanation. — Place  right  foot  about  six  inches  back 
of  left,  and  pivot  back  directly  to  rear,  via  right,  with 
wand  perpendicular,  as  in  preceding  exercise ;  then  on 
next  two  counts  pivot  to  front  with  wand  to  left  shoulder, 
repeating  through  eight  counts. 

11.  Wand  perpendicular  with  trunk  rotation,  eight 
counts. 

Explanation. — On  first  two  counts  carry  wand  to  per- 
pendicular on  outside  of  right  shoulder,  grasping  wand  as 
in  Exercise  9,  and  rotating  trunk  to  right,  but  head 
turned  to  left,  looking  over  left  shoulder ;  on  next  two 
counts  do  same  reversely ;  alternate  thus  through  eight 
counts. 

12.  Wand  perpendicular  with  forward  and  backward 
lunges,  sixteen  counts. 

Explanation. — With  wand,  trunk,  and  head  as  in  pre- 
ceding exercise  lunge  with  left  foot  three  times  its  length 
over  and  beyond  right  foot,  then  on  third  and  fourth 
counts  lunge  oblique-back,  left,  eyes  looking  over  right 
shoulder.  Repeat  through  four  counts,  then  do  same  re- 
versely, eight  counts. 


VISIBLE   EXPRESSION    OR   GESTURE 


207 


Fourth  Order 


Attitudes 


In  the  following  order  each  attitude  may  be  held  eight 
counts,  corresponding  to  one  strain  of  music.  The  left 
foot  is  stationary,  except  as  it  pivots  on  ball  of  foot  or  rises 
on  toes  to  accommodate  the  action  of  the  other  foot. 

Wamd  down. 

I 

Wand  horizontal  and  at  arms'  length  front,  right  foot 
fully  twice  its  length  forward  and  supporting  body,  left 
foot  on  toes,  eyes  looking  front. 

II 

Wand  horizontal  and  at  arms'  length  over  head,  right 
foot  carried  four  times  its  length  backward  from  preced- 
ing position  and  supporting  body,  both  feet  on  floor, 
knees  firm,  head  back,  eyes  looking  upward. 


Ill 

Wand  perpendicular  at  right  shoulder, 
left  hand  grasping  wand  at  right  shoulder, 
palm  facing  front,  right  grasping  wand  at 
arm's  length,  down  and  against  thigh,  basic 
position  retained  from  preceding  attitude, 
eyes  looking  over  left  elbow.    (Illus.  I.) 

IV 

Same  as  preceding,  except  wand  perpen- 
dicular to  left  shoulder,  and  eyes  looking 
over  right  elbow.  .  lUus.  i. 


208 


ADVANCED    ELOCUTION 


lUus.  II. 


With  wand  obliquely  backward  and  up- 
ward, left  hand  grasping  it  at  arm's  length, 
right  grasping  it  near  left  shoulder,  charge 
to  oblique-front  right,  also  bending  body 
strongly  forward,  eyes  looking  toward  floor 
at  point  indicated  by  lower  end  of  wand, 
alius.  II.) 

VI 

With  wand  same  as  in  preceding  atti- 
tude, except  at  right  shoulder,  charge 
with  fall-out  and  body-bend  to  oblique- 
front  left ;  this  will  carry  right  foot  over 
and  beyond  left  foot. 

VII 
With  right  hand  grasping  wand  high  overhead,  and  left 
grasping  it  back  of  and  above  head,  wand  pointing  upward, 
charge  right  foot  backward,  eyes  looking  forward  and  down- 
ward.    (Illus.  III.) 

VIII 

With  wand  pointing 
forward  and  downward, 
left  hand  grasping  it  in 
front,  and  right  hand  re- 
taining it  backward  and 
high  overhead,  pivot  on 
balls  of  feet  via  right 
until  body  faces  to  rear, 
eyes  as  in  preceding  atti- 
tude.    (Illus.  IV.) 

IX 

With  one  end  of  wand 
lUus.  III.     held  by   both  hands  at  mus.  iv. 


VISIBLE   EXPRESSION   OR   GESTURE 


209 


chest,  pivot  round  to  front,  charge  directly  forward  and 
kneel  on  left  knee,  at  same  time  pointing  wand  about  ninety 
degrees  upward  to  oblique-front  right,  right  hand  extended 
at  arm's  length  along  barrel  of  wand,  hold  attitude  through 

eight  counts,  then  without  rising 
direct  wand  to  oblique-front  left, 
hold  eight  counts,  and  rise  to  feet. 

X 

With  right  hand  grasping  wand 
at  right  hip,  and  elbow  well  back, 
left  hand  supporting  wand,  at 
nearly  arm's  length  front,  charge 
directly  backward  with  right  foot, 
left  knee  flexed,  right  one  firm, 
eyes  looking  forward  in  direction 
indicated  by  wand.    (Illus.V.) 

XI 
Retain  wand  position  as  in  preceding  attitude  and  charge 
directly  forward  without  body  turn,  knees  firm. 

XII 

Bring  wand  to  carry,  and  feet  to  fundamental  position. 


Illus.  V. 


Dumb-Bells — Wooden 

Note.— The  three-quarter  pound  bells  may  be  used  by  ladies, 
the  pound  bells  by  gentlemen. 

Rest  Positions  ivith  Bells 

1.  Bells  on  hips. 

2.  Bells  down — that  is,  arms  down  at  side,  palms  toward 
thighs,  unless  otherwise  indicated. 

3.  Bells  down  and  back  of  thighs,  one  bell  crossing  the 
other  and  clasped  by  both  hands,  feet  in  parade  rest  posi- 
tion.   See  page  177. 

14 


210  ADVANCED   ELOCUTION 

Time.  Unless  otherwise  indicated,  use  the  last  one  or 
two  counts  of  each  exercise  for  passing  from  one  exercise 
to  the  next  throughout  each  order.  This  is  especially 
necessary  where  music  is  used. 

Eocercises 
First  Order 

1 .  Bells  vertical  and  front,  forearm  flexion  and  rotation. 
Explanation. — With  elbows  against  intercostal  muscles, 

forearms  directly  forward  and  palms  facing  each  other,  turn 
bells  with  backs  of  hands  downward  seven  counts,  leaving 
eighth  count  to  carry  bells  to  next  position. 

2.  Bells  horizontal  at  shoulders,  with  forearm  flexion 
and  rotation. 

Explanation. — With  elbow^s  as  in  preceding,  and  palms 
near  to  and  facing  shoulders  turn  bells,  with  palms  facing 
front,  seven  counts. 

3.  Bells  down,  with  arm  rotation. 

Explanation. — With  back  of  hands  facing  front,  turn 
bells  outward  till  palms  of  hands  face  front,  bells  close  to 
thighs,  turn  through  seven  counts ;  on  eighth  count  carry 
bells  vertical  to  chest. 

4.  Bells  to  horizontal  lateral,  with  arm  rotation. 
Explanation. — With  arms  extended  to  horizontal  lateral 

and  palms  facing  upward,  turn  bells,  palms  downward, 
seven  counts ;  on  eighth  count  again  to  chest. 

5.  Bells  horizontal  overhead,  with  arm  rotation. 
Explanation. — With    arms    extended    overhead    and 

palms  facing  front,  turn  bells  with  ♦backs  of  hands  front, 
seven  counts.     On  eighth  count,  bells  to  chest. 

6.  Bells  horizontal  front,  with  arm  rotation. 
Explanation. — With  arms  extended  directly  front  and 

palms  upward  turn  bells  (palms  downward),  seven  counts ; 
on  eighth  count  bells  to  hips. 


VISIBLE   EXPRESSION   OR   GESTURE  211 

7.  Bells  oblique  with  alternate  knee  flexion. 
Explanation. — ^With  right  arm  extended  to  right  and 

midway  between  horizontal  and  perpendicular,  holding 
bell  with  palm  upward,  and  left  arm  extended  on  same 
line  downward,  holding  bell  with  palm  downward, 
charge  directly  to  right,  and  flex  right  knee;  on  second 
count  flex  left  knee,  alternating  knee  flexion  thus 
through  seven  counts.  Return  to  position  and  do  same 
reversely. 

8.  Bell  thrust  from  shoulder  with  lateral  trunk  bend- 
ing. 

Explanation. — With  left  bell  on  hip  bend  trunk  to 
left,  and  with  right  bell  at  shoulder,  palm  facing  inward 
toward  neck,  thrust  bell  upward  seven  counts,  return  to 
position  and  do  same  reversely. 

9.  Bells  vertical  on  chest  with  chest  expansion. 
Explanation. — With  bells  lying  side  by  side  on  chest 

carry   elbows  backward,  flattening  shoulder  blades  and 
expanding  chest  seven  counts. 
Stride  position — bells  on  shoulders. 

10.  Bells  to  perpendicular  with  heel  elevation. 
Explanation. — With  bells  as  indicated,  separate  feet 

about  six  inches,  then  thrust  bells  upward,  palms  facing, 
at  same  time  rising  on  toes.  Repeat  through  seven 
counts. 

Bells  down  and  heels  closed. 

11.  Bells  to  horizontal  lateral  with  knee  flexion. 
Explanation. — Carry  bells  upward  to  shoulder-high, 

palms  down,  at  same  time  flexing  or  bending  knees  and 
rising  on  toes.     Repeat  through  eight  counts. 

12.  Attitude. 

Explanation. — On  first  two  counts  remain  in  funda- 
mental position ;  on  third  count  step  diagonally  forward 
to  right  and  fall-out,  with  right  bell  on  hip  and  left  bell 
extended  at  arm's  length,  oblique-back  to  left,  halfway 


212  ADVANCED    ELOCUTION 

between  perpendicular  and  horizontal,  palm  upward,  head 
turned,  eyes  looking  at  left  bell ;  hold  attitude  through 
five  counts,  return  to  position  on  eighth  count,  and  do 
same  reversely  through  eight  counts. 


Second  Order 

Bells  vertical  on  chest. 

1.  Bells  with  arm-sweep  from  lateral  to  front. 

Explanation. — On  first  count  draw  right  arm  back- 
ward from  chest  and  outward  to  horizontal  lateral,  bell 
vertical ;  on  second  count  forward  to  horizontal  front  and 
inward  upon  chest;  repeat  through  eight  counts.  Do 
same  with  left  arm. 

2.  Bells  with  arm-sweep  from  front  to  lateral. 
Explanation. — On   first  count   extend   right   arm    to 

horizontal  front,  bell  vertical ;  on  second  count  extend 
right  arm  outward  to  horizontal  lateral  and  inward  upon 
chest;  repeat  through  eight  counts.  Do  same  with  left 
arm. 

3.  Bells  with  arm  extension  and  trunk  rotation. 
Explanation. — On   first   two   counts   rotate    trunk   to 

right,  extending  right  bell  at  arm's  length  forward,  bell 
vertical ;  third  and  fourth  counts  rotate  trunk  to  left,  ex- 
tending left  bell  forward  and  bringing  right  bell  in  upon 
chest.  Repeat  the  exercise  through  eight  or  sixteen 
counts. 

Bells  on  chest, 

4.  Bells  clasped  with  trunk  bending. 
Explanation. — To  clasp  the  bells  draw  them  vertically 

together  upon  the  chest,  interlocking  the  fingers  of  both 
hands.  With  bells  thus  clasped,  on  first  two  counts,  ex- 
tend bells  downward  at  arms'  length  near  right  knee, 
bending  trunk ;  on  third  and  fourth  counts  describe  a  half 
circle  overhead  and  then  bend  downward  in  same  way  to 


VISIBLE   EXPRESSION   OR   GESTURE  213 

left,  then  overhead  again  to  right,  repeating  thus  through 
either  eight  or  sixteen  counts. 
Bells  on  hips. 

5.  Bells  to  perpendicular  with  short  step. 

Explanation. — On  first  two  counts  remain  in  posi- 
tion; on  third  count  advance  one  foot-length  toward 
oblique-front  right,  at  same  time  bring  bells  to  shoulders, 
and  thrust  at  arms'  length  to  perpendicular,  palms 
facing  each  other;  on  fourth  count  return  bells  to 
shoulders;  on  fifth  count  again  to  perpendicular  and 
so  on  until  eighth  count,  when  return  to  position. 
Then  do  same  oblique-front  left,  then  same  oblique- 
back  right,  without  turning  body,  then  same  oblique- 
back  left. 

Bells  down. 

6.  Bells  pendant  overhead  with  lateral  fall-out. 
Explanation. — On  first  count  carry  left  bell  to  hip  and 

extend  right  bell  to  horizontal  lateral,  palm  down ;  on 
second  count  step  to  left,  body  facing  front  and  fall-out, 
at  same  time  swing  right  bell  forward  and  upward 
overhead,  and  pendant ;  on  third  count,  bell  and  position 
are  same  as  in  first  count ;  on  fourth  count,  bell  down. 
Repeat  exercise  through  remaining  four  counts.  Then 
do  same  in  reverse  order. 

7.  Bell  alternately  from  chest  to  shoulder  with  head 
rotation. 

Explanation. — On  first  two  counts  place  left  bell  on 
left  hip  and  right  bell  vertical  on  left  chest,  head 
turned  to  right;  on  next  two  counts  swing  right  bell 
downward  and  outward  to  lateral,  and  in  upon  right 
shoulder,  elbow  outward,  at  same  time  rotate  head  to 
left ;  on  fifth  and  sixth  counts  return  right  bell  to  left 
chest,  and  head  turned  to  right.  Continue  the  exercise 
through  sixteen  counts,  recovering  position  on  last  two 
counts.     Do  same  reversely  sixteen  counts. 


214 


ADVANCED   ELOCUTION 


lUus.  VI. 


Bells  down. 

8.  Bells  with  foil  exercise. 

Explanation. — Remain  in 
position  two  counts ;  on  third 
count  carry  right  bell  to  hori- 
zontal lateral,  palm  upward, 
and  left  bell  overhead  with 
hand  pendant,  at  same  time 
lunge  three  foot-lengths  to 
right;  on  fourth  count  re- 
cover position ;  repeat  the 
exercise  through  remaining 
four  counts.  (Illus.  VI.)  Then 
do  same  in  reverse  order  eight 
counts,  then  same,  alternating 
right  and  left,  eight  counts. 
Bells  vertical  on  chest. 

9.  Bells  to  horizontal  front  with  knee  flexion. 
Explanation. — Remain  in  position  two  counts ;  on  third 

count  place  right  foot  twice  its  length  forward  to  oblique- 
right,  knee  flexed,  at  same  time  carrying  bells  to  hori- 
zontal front,  palms  facing  each  other ;  on  fourth  count, 
flex  left  knee  and  straighten  right  knee,  carrying  bells  to 
horizontal  lateral  and  vertically  in  upon  chest ;  on  fifth 
count  do  same  as  on  third  ;  on  sixth,  same  as  on  fourth ; 
on  seventh  as  on  third,  and  return  to  position  on  eighth 
count.     Then  do  same  oblique-front  left. 

10.  Bell  thrust  from  chest  with  oblique-back  fall- 
outs. 

Explanation. — Remain  in  position  on  first  two  counts ; 
on  third  count  place  right  foot  twice  its  length,  oblique- 
back  right  and  fall-out,  at  same  time  thrusting  right  bell  to 
horizontal  front ;  on  fourth  count  thrust  left  bell  forward 
and  carry  right  bell  in  upon  chest ;  alternate  thus  through 
remaining  three  counts,  returning  to  position  on  eighth 


VISIBLE   EXPRESSION   OR   GESTURE 


215 


count.     Then   do   same    reversely.     Body    should    face 

toward  oblique-front  in  this  exercise. 
Bells  down. 
11.  Attitude. 
Explanation.  —  Stand    in    position 

two  counts,  then  pivot  on  ball  of  left 

foot  directly  to  left,  at  same  time  step- 
ping back  to  right  with  right  foot,  right 

limb  supporting  body,  knee  flexed,  left 

knee  firm ;    place  right  bell  on  right 

hip  and  left  bell  on  chest  near  right 

shoulder,  eyes  looking  outward  over 
left  shoulder,  re- 
turn to  position 
on  eighth  count. 
(Illus.  VII.)  Do  same  reversely. 
12.  Attitude. 

Explanation. — Place  right  foot  twice 
its  length,  oblique-front  right,  and  carry 
left  bell  vertically  back  of  neck  and  right 
bell  vertically  back  of  waist,  support 
body  on  left  limb,  knee  flexed,  at  same 
time  bend  obliquely-back  in  left  hip, 
return  to  position  on  eighth  count,  and 
do  same  reversely.     (Illus.  VIII.) 


Illus.  VII. 


Illus.  VIII. 


Third  Order 

Attitudes  and  Exercises 

In  all  attitudes  of  the  third  order  use  for  each  attitude 
eight  counts,  in  this  way :  Stand  in  fundamental  position 
during  first  two  counts,  then  assume  attitude,  holding  the 
same  through  five  counts ;  recover  position  on  eighth  count. 
The  charges  should  be  fully  three  times  the  length  of  the 
foot. 


216 


ADVANCED    ELOCUTION 


lllus.  IX. 


Arms  down. 
Attitudes. 

Explanation. — On  third 
count  charge  three  foot- 
lengths  to  oblique-front 
right,  at  same  time  extend 
right  bell  at  arm's  length 
forward  and  upward,  and  on 
line  with  body,  palm  up- 
ward, and  left  bell  on  same 
line  downward,  palm  down- 
ward, eyes  looking  upward 
at  right  bell.  (lllus.  IX.) 
Hold  attitude  through  five  counts, 
return  to  position  on  eighth  count. 
Do  same  reversely.  Recover  position 
and  charge  same  distance  oblique- 
back  right,  right  limb  supporting, 
but  knee  flexed,  left  knee  firm,  right 
arm  extended  downward,  outward, 
and  backward,  palm  downward,  left 
hand  clasping  bell  near  forehead, 
palm  facing  front.  (lllus.  X.)  Hold 
five  counts,  recover  position  on 
eighth  count,  and  do  same  reversely. 
Bells  on  shoulders,  palms  downward, 
elbows  outward. 
Exercise. 

Explanation. — Carry  right  bell  via  lateral,  palm  facing 
outward,  downward  to  thigh,  four  counts,  then  do  same 
with  left,  four  counts,  same  alternately,  four  counts, 
same  simultaneously,  four  counts.  Repeat  in  same 
order  to  horizontal  lateral,  then  to  vertical,  palms  fac- 
ing inward,  then  to  horizontal  front,  palms  facing  up- 
ward. 


lllus.  X. 


VISIBLE   EXPRESSION   OR   GESTURE 


217 


Arms  down. 
Attitudes. 

Explanation.  —  Charge  three  times 
length  of  foot  to  right,  right  knee  flexed, 
left  knee  firm,  at  same  time  right  arm 
to  vertical,  hand  grasping  bell  with 
palm  facing  outward  and  upward,  left 
bell  on  hip,  head  well  back,  eyes  look- 
ing at  right  bell  (Illus.  XI)  ;  do  same  re- 
versely. Then  charge  oblique-back  right, 
bells  to  hips  and  head  turned  to  left 
(Illus.  XII)  ;  do  same  reversely. 
Arms  down. 
Exercise. 

Explanation. — Extend  right  bell 
to  horizontal  lateral,  palm  downward, 
four  counts,  left,  four  counts,  then 
alternately,  four  counts,  then  both, 
four  counts,  then  follow  same  order 
with  bells  to  vertical,  palms  facing 
outward,  then  follow  same  order  to 


Illus.  XI. 


I 


horizontal    front, 
carrying     bells 
to  armpits. 
Illus.  XII.  ^-^^      Attitudes. 

Explanation. — Charge  with  right 
foot  toward  oblique-front  right,  knee 
flexed,at  same  time  extend  both  bells 
forward  and  downward,  palms  facing 
each  other,  then  quickly  draw  left 
bell  to  shoulder,  elbow  back,  eyes 
looking  forward  and  downward  in 
direction  of  right  bell.  (Illus. 
XIII.)  Do  same  reversely,  then 
follow  same  order,  charging  oblique- 


then    same    order 


Illus.  XIII. 


218 


ADVANCED    ELOCUTION 


back  right,  but  with  arm  extension  forward  and  upward, 
then  same  oblique-back  left. 

Bells  with  one  lobe  resting  on  chest,  the  other  extended  for- 
ward. 
Exercise. 

Explanation. — Carry  right  bell  via  front  down  to  side, 
four  counts,  then  do  same  with  left,  same  alternating, 
then  both  same.  Follow  this  order  with  bells  to  horizontal 
lateral,  palms  facing  upward,  then  to 
vertical,  palms  facing  inward,  then  to 
horizontal  front,  bells  vertical. 
Bells  down. 
Attitudes. 

Explanation. — Hold  position  two 
counts,  charge  to  oblique-front  right, 
right  knee  flexed,  left  knee  firm,  trunk 
well  forward,  bells  vertical  and  rest- 
ing on  back  of  neck,  eyes  looking 
downward.  (lUus.  XIV.)  Do  same 
reversely,  then  follow  same  order 
oblique-back  right  with  bells  on  right 
shoulder,  head  turned  toward  oblique-front  left.  Do  same 
reversely. 


Illus.  XIV. 


Fourth  Order 

Striking  Bells 

1.  Stand  in  parade  rest  position  eight  counts. 

2.  Assume  fundamental  position,  and  salute  with  right 
bell.  This  is  done  in  four  counts,  and  by  carrying  right 
bell  to  left  shoulder,  palm  of  hand  facing  outward,  then 
sweep  arm  outward  and  downward  to  side.  Then  hold 
fundamental  position,  another  four  counts. 

3.  Forearm  exercise,  with  alternating  stroke  on  alter- 
nating bell  lobes. 


VISIBLE   EXPRESSION   OR   GESTURE 


219 


Explanation. — With  elbows  close  to  intercostal  muscles 
and  forearms  extended  forward,  right  palm  downward 
and  left  upward,  strike  inner  lobes  of  bells,  one  count, 
then  reverse  hand  position,  striking  the  other  lobes,  alter- 
nate thus  through  six  counts ;  use  remaining  two  counts 
for  assuming  next  position. 

4.  Striking  bells  over  and  under,  sixteen  counts. 

Explanation. — Carry  left  bell  to  hori- 
zontal front,  bell  vertical;  at  same  time 
place  right  bell  above  and  near  right 
shoulder,  lower  lobe  almost  touching 
shoulder.  On  first  count  sweep  right 
bell  upward,  forward,  and  downward 
striking  upper  lobe  of  left  bell.  (lUus. 
XV.)  As  soon  as  the  left  bell  is 
struck,  sweep  left  arm  downward  and 
backward  and  then  upward,  and  on 
second  count  near  top  of  left  shoulder, 
right  bell  taking  the  horizontal  front 
position.  Alternate  the  sweep  of  arms 
and  striking  of  bells  thus  through  eight 
counts.  Then  reverse  the  order  by  alter- 
nating sweep  of  arms  backward  and  down- 
ward and  front,  and  striking  the  lower  lobe  of  bell  under- 
neath.     Repeat  through  eight  counts. 

5.  Striking  bells  over  and  under,  eight  counts.  Same 
as  preceding,  except  right  bell  is  struck  over  once,  then 
left  over  once,  then  right  under  once,  then  left  under  once. 

Arms  down. 

6.  Striking  bells  with  toe-touch,  eight  counts. 
Explanation. — On  first  count  sweep   bells  outward, 

then  high  overhead  striking  inner  lobes  of  bells  to- 
gether, and  at  same  time  extending  right  foot  two  or  three 
inches  toward  oblique-front  right,  toe  only  touching  floor ; 
on  second  count  return  to  position.     Repeat  through  four 


lUus.  XV. 


220  ADVANCED    ELOCUTION 

counts,  then  do  same  with  left  toe-touch,  but  on  fourth 
count  assuming  position  for  next  exercise. 

7.  Repeat  Exercise  5. 
Arms  down. 

8.  Repeat  Exercise  6  with  toe-touch  oblique-back,  right 
and  left. 

9.  Repeat  Exercise  5. 

10.  Striking  bells  front  and  back  of  thighs,  eight  counts. 
Explanation. — On   first   count  carry  bells   downward 

and  at  arms'  length  front,  striking  inner  lobes  together ; 
on  second  count  strike  bells  together  back  of  thighs,  palms 
down.     Repeat  through  seven  counts. 

11.  Repeat  Exercise  5. 

12.  Striking  bells  overhead  and  back  of  thighs,  eight 
counts. 

Explanation. — This  exercise  is  same  as  Exercise  10, 
except  that  bells  are  struck  overhead  instead  of  front  of 
thighs. 

13.  Repeat  Exercise  5. 

14.  Striking  bells  with  lateral  lunge,  eight  counts. 
Explanation. — On  first  count  lunge  to  right,  extending 

right  bell  horizontally  at  arm's  length  in  same  direction,  at 
same  time  striking  it  on  side  of  upper  lobe  with  Left  bell, 
thumb-lobe  of  left  bell  downward ;  on  second  count  swing 
line  of  gravity  into  left  limb,  bending  left  knee,  straighten- 
ing right  one,  and  sweeping  left  arm  strongly  backward, 
then  upward  and  forward,  striking  right  bell,  which  should 
be  kept  stationary  through  the  exercisp.  Recover  posi- 
tion on  eighth  count. 

15.  Repeat  Exercise  5. 

16.  Repeat  Exercise  14  reversely. 

17.  Repeat  Exercise  5. 

18.  Striking  bells  with  right  and  left  pivot. 
Explanation.—  On  first  count  pivot  to  right ;  on  second 

count  sweep  bells  upward  from  side,  striking  inner  lobes 


VISIBLE   EXPRESSION   OR   GESTURE  221 

together  overhead ;  on  third  count  strike  bells  together  at 
arms'  length  downward  in  front  of  thighs,  palms  facing 
front.  Repeat  through  seven  counts,  then  pivot  to  left, 
repeating  exercise  on  left  side. 

19.  Repeat  Exercise  5. 

20.  Striking  bells  with  knee  support,  sixteen  counts. 
Explanation. — On  first  count  place  right  foot  once  its 

length  forward  with  lower  lobe  of  left  bell  resting  on  right 
knee,  which  should  be  slightly  bent;  on  second  count 
sweep  right  arm  over  shoulder  as  in  Exercise  4,  striking 
upper  lobe  of  left  bell.  Repeat  through  seven  counts, 
recover  position,  and  do  same  reversely. 

21.  Repeat  Exercise  5. 

22.  Repeat  Exercise  3. 

23.  Repeat  Exercise  5. 

24.  Repeat  Exercise  4. 

25.  Parade  rest  position. 


^STHETICAL   GYMNASTICS 

"Grace  Is  to  the  body  what  good  sense  is  to  the  mind."— Rochefoucauld. 

i^sthetical  gymnastics  contribute  both  to  health  and 
grace.  While  largely  instrumental  in  promoting  the 
former,  they  are  especially  valuable  in  rendering  the  mus- 
cles pliable  and  in  giving  proper  direction  and  control  to 
the  nerve  force,  thus  fitting  the  whole  physique  to  become 
a  suitable  agent  of  expression.  Grace  is  the  result  of  equi- 
librium, and  equilibrium  results  from  perfect  balance  or 
poise,  therefore  it- follows  that  any  one  not  physically 
deformed  may  be  able  to  secure  this  muscular  control,  and 
that  no  one  need  sit,  stand,  or  move  in  an  awkward  way. 
Grace  is  charm  of  manner,  is  above  personal  adornment, 
and  may  be  considered  a  desirable  inheritance.  It  is  one 
of  Nature's  best  gifts  to  the  human  race.     It  must  not, 


222  ADVANCED   ELOCUTION 

however,  be  confounded  with  affectation ;  the  two  are 
antipodal.  A  few  persons  retain  this  gift  of  grace  from 
childhood,  but  the  vast  majority  lose  it  through  the  arti- 
ficialities and  incumbrances  of  environment. 

That  pliancy  may  be  secured  it  is  first  necessary  to  rid 
the  body  of  undue  rigidity ;  hence  certain  relaxing  exer- 
cises are  necessary. 

In  these,  as  well  as  in  the  energizing  exercises,  the  so- 
called  Delsarte  exercises  are  largely  utilized,  as  it  is  believed 
there  are  none  more  valuable  for  attaining  the  end  sought. 

Note. — Exercises  upon  the  same  plan  were  introduced  a  century 
ago  by  Engel,  a  German  writer,  but  Madame  Geraldy,  the  daughter 
of  Delsarte,  when  in  America  in  1892,  declared  that  these  exercises 
were  not  a  part  of  her  father's  philosophy,  nor  did  he  make  any 
use  of  them  in  his  course  of  instruction.  It  would  seem,  however, 
that  credit  is  due  to  Mr.  Steele  Mackaye  for  the  fundamentals  at 
least  of  this  class  of  exercises,  as  he  certainly  was  the  first  to 
utilize  them  in  this  country. 

Relaxing  Exercises* 
For  Fingers 

1.  Elbows  near  intercostal  muscles,  hands  near  waist, 
left  hand  lying  relaxed  upon  tips 
of  fingers  of  right,  thumb  of  right 
in  palm  of  left;  in  this  position 
continue  to  shake  left  fingers  with 
right  hand  a  number  of   times, 

then  shake  right  fingers  in  same  manner. 

2.  Same  as  preceding,  except  palm  of  relaxed  hand 
is  turned  inward  toward  chest. 

3.  Palm  of  left  hand  turned  to- 
ward earth  and  resting  upon  tips  of 
right  finger,  thumb  of  right  on  back 
of  left.     Shake  as  above  indicated. 

♦By  relaxing  is  meant  the  removal  of  nerve  force  or  tension  from  certain  sets 
of  muscles. 


VISIBLE   EXPRESSION   OR   GESTURE  223 

4.  Relax  fingers,  separate  hands  three  or  four  inches, 
palms  facing,  and  shake  fingers  with  quick  fluttering 
motion  inward  and  outward.  If  this  exercise  is  properly 
executed,  it  will  be  found  that  the  centre  of  action  is  in 
the  partial  rotation  of  the  radius,  and  may  be  detected  by 
touching  its  point  of  attachment  at  the  elbow. 

For  Hands 

1.  With  right  hand  relaxed  from  finger-tips  to  wrist  and 
unsupported,  palm  toward  earth,  shake  upward  and  down- 
ward and  inward  and  outward.  Left  same.  Both  same. 
Both  alternating. 

2.  With  elbow  extension  six  or  eight  inches  outward, 

and  palms  facing  chest,  follow  same  order  as  in  preceding 

exercise. 

For  Forearm 

1.  Raise  elbow  outward  about  halfway  to  shoulder-level, 
right  forearm  and  hand  pendulous  and  relaxed.  Shake. 
Same  with  left  forearm.     Same  with  both. 

2.  Extend  entire  right  arm  at  shoulder-level  front,  then 
relax  forearm  and  hand,  letting  them  fall,  and  vibrating 
until  motion  ceases.  Do  same  with  left  arm.  Same  with 
both  arms.  Be  careful  that  shoulder  is  not  thrown  out 
of  its  natural  position  in  this  exercise. 

For  Entire  Arm 

1.  Arms  downward  at  side.  Relax  to  shoulder.  Shake 
right  arm.     Shake  left.     Shake  both. 

2.  Bend  trunk  slightly  downward  to  right  and  extend 
right  arm  to  horizontal  front,  then  relax  to  shoulder, 
letting  arm  fall,  vibrating  of  itself  until  motion  ceases. 
Do  same  left. 

3.  Extend  arms  to  vertical,  withdraw  energy  in  quick 
succession  from  finger-tips  to  shoulder — arms  will  fall 
relaxed  at  side. 


224  ADVANCED  ELOCUTION 

For  Ankles 

Raise  right  foot  slightly  forward  and  without  touch- 
ing floor,  relax  to  ankle  and  shake.     Same  left. 

For  Leg 

Note. — Both  leg  and  thigh  exercises  should  be  done  by  standing 
upon  a  step,  platform,  or  other  solid  elevation,  in  order  to  extend 
foot  downward  and  to  have  it  free  from  incumbrance. 

1.  According  to  above  suggestion  relax  right  limb  to 
knee  and  shake.     Same  left. 

2.  Carry  righf  foot  forward  and  upward  with  knee 
flexion,  relax  muscles  and  let  foot  fall  downward.  Same 
left. 

For  Entire  Limb 

1.  Standing  as  above  indicated,  shake  entire  limb,  first 
the  right,  then  the  left. 

2.  Raise  limb  forward,  remove  energy  and  let  limb  fall 
with  pendulous  action  until  motion  ceases. 

For  Head  and  Neck 

1.  Close  eyelids  and  relax  muscles  of  neck,  allowing 
head  to  fall  on  chest,  gently  carry  head  to  position; 
relax  muscles  of  neck,  allowing  head  to  fall  backward, 
on  spine,  return  head  to  position,  then  let  head  fall  toward 
right  shoulder,  then  toward  left  shoulder. 

2.  Allow  head  to  fall  forward  on  chest,  then  sway  trunk 
so  as  to  let  head  roll  to  right  shoulder,  then  back  on 
spine,  then  to  left  shoulder,  and  forward  again  to  chest, 
and  gently  lift  to  position. 

For  Trunk 

1.  First  relax  by  letting  head  fall  forward  to  chest, 
then  relax  in  shoulders  and  chest  and  allow  trunk  to 
fall    lifelessly    forward    and     downward,    head    leading, 


VISIBLE    EXPRESSION   OR   GESTURE  225 

without  bending  knees;  slowly  rise  to  position  first  by 
energizing  hips;  second,  shoulders  and  chest,  and  lastly 
head.  Then  follow  same  order  backward  with  slightly- 
bent  knees,  and  heels  separated  four  or  five  inches,  to 
relieve  any  undue  strain  on  spine.  Do  not  relax  beyond 
a  point  of  ease.  Lift  trunk  to  position.  Do  same  to 
right,  same  to  left. 

2.  Let  head  and  trunk  fall  forward,  as  in  preceding 
exercise,  then  to  right,  then  back  on  spine,  then  to  left  and 
front,  the  carrying  impulse  proceeding  from  the  lower 
limbs. 

Note. — The  exercises  of  the  head  and  trunk,  relaxing  and 
energizing,  while  not  the  most  pleasing,  are  nevertheless  of  great 
importance,  as  they  have  to  do  with  the  vital  organs.  Especially 
are  they  of  value  to  persona  in  middle  life,  when  the  muscles  are 
apt  to  be  stiffened  or  set.  If  these  exercises  prove  too  severe  they 
can  be  done  by  sitting  on  a  stool,  the  feet  resting  upon  the  floor. 


For  Entire  Body 

Place  one  foot  about  one  and  one-half  times  its  length 
in  rear  of  the  other,  with  heel  of  advanced  foot  on  line 
with  instep  of  back  one,  toes  at  right  angles,  then  bend 
knee  of  back  limb,  inclining  trunk  forward,  and  head 
on  line  with  back  limb,  then  bend  both  knees  until  hip 
on  side  of  back  limb  is  near  to  floor,  relax  muscles  and 
body  will  sink  to  floor.  This  is  an  excellent  exercise, 
but  should  first  be  practiced  by  falling  upon  lounge  or 
soft  cushions. 

Energizing  or  Fundamental  Exercises 

Upon  the  flexibility  of  the  wrist  in  its  rise  and  fall,  the 

rotation  of  the  forearm  and  circumduction  and  rotation 

of  the  whole  arm  depends  the  flowing,  graceful   motion 

of  the  entire  arm.     To  attain  this,  practice  the  subjoined 

15 


226  ADVANCED   ELOCUTION 

fundamental   exercises  slowly  and  evenly,  many   times; 
first  with  one  arm,  then  the  other,  then  with  both. 

For  Wrist 

Raise  hand  pendant  (hanging  relaxed  from  wrist),  to 
front,  near  chest,  elbow  nearly  on  level  with  wrist,  allow- 
ing finger-tips  of  one  hand  to  rest  in  palm  of  the  other. 
From  this  position  lower  entire  arm  by  depressing  sup- 
ported hand  at  wrist. 

For  Forearm 

With  finger-tips  near  shoulders,  hand  pendant  and 
turned  inward,  elbow  near  side,  rotate  forearm  until  fingers 
are  turned  front,  hand  remaining  pendant,  then  carry 
forearm  forward  and  downward  to  side,  wrist  leading. 
Repeat  same  exercise  in  different  altitudes  and  in  differ- 
ent directions  from  front. 

For  Upper  Arm 

With  arm  hanging  relaxed  at  side,  back  of  hand  toward 
thigh,  rotate  arm  at  shoulder  until  palm  of  hand  faces 
front.  With  forearm  and  hand  pendant  and  relaxed  ro- 
tate upper  arm  at  various  altitudes  and  in  various  direc- 
tions from  the  front. 

For  Entire  Arm 

With  arm  down  as  in  preceding  exercises,  rotate  upper 
arm,  at  same  time  carrying  elbow  forward,  then  raise  fore- 
arm with  hand  relaxed  and  pendant,  until  finger-tips  are 
near  shoulder,  same  time  lowering  elbow,  then  energize 
forearm,  at  same  time  extending  it  forward,  lastly  ener- 
gize and  extend  hand  forward,  palm  upward.  Again  fold 
hand  inward  toward  wrist,  then  carry  forearm  relaxed  and 
inward,  with  lowered  elbow  and  with  finger-tips  again 


VISIBLE   EXPRESSION   OR  GESTURE  227 

near  shoulders,  then  raise  elbow  sufficiently  to  permit 
hand  to  descend  to  side.  Practice  in  various  altitudes, 
and  in  various  directions  from  the  front. 

Regular  Exercises 

For  Arm  and  Hand 

Position. — Stand  with  heels  closed,  toes  out  at  usual 
angle — that  is,  about  sixty  degrees — line  of  gravity  falling 
between  balls  of  feet,  entire  body  erect,  without  rigidity, 
shoulders  and  hips  in  line,  but  free  to  move  ;  vital  organs 
high,  arms  pliant  and  down  at  side.  All  these  exercises  must 
be  executed  slowly,  evenly,  and  rhythmically.  In  these 
exercises  in  all  motions  of  the  arm,  as  it  rises  from  the  side 
except  one,  whether  the  altitude  to  which  it  is  lifted  be 
great  or  little,  the  movement  must  be  executed  with  hand 
pendant  and  relaxed  from  wrist,  and  conversely  in  all  the 
movements  downward  from  any  altitude  to  any  point 
below,  the  hand  should  be  energized,  with  palm  turned 
outward  and  finger-tips  upward,  the  wrist  leading.  If  the 
fundamental  exercises  have  been  properly  practiced,  the 
regular  exercise  can  be  readily  attained ;  if  not,  awkward- 
ness and  rigidity  are  sure  to  follow. 

1.  Carry  one  arm  frontward  and  upward  to  shoulder 
level;  as  arm  assumes  this  position  energize  hand  and 
return  arm  by  same  track  to  side.  Do  same  with  other 
arm,  then  same  with  both.  Then  follow  same  order 
oblique-front  and  lateral. 

2.  Same  as  preceding,  except  raising  arm  to  vertical. 

3.  Same  as  Exercise  1,  except  that  one  arm  precedes  the 
other  in  the  movement ;  thus,  making  an  opposition  ex- 
ercise— that  is,  when  one  arm  reaches  shoulder  level  and 
is  returning  to  side,  the  other  is  moving  up  to  shoulder 
level,  and  so  on  continuously  throughout  oblique-front  and 
lateral. 


228  ADVANCED    ELOCUTION 

4.  Same  as  preceding  exercise,  except  that  arm  rises  to 
vertical. 

5.  Raise  arm  to  shoulder  level,  lateral,  energize  wrist 
and  turn  it  in  a  radius  of  half  circle,  until  palm  faces 
outward,  finger-tips  backward.  Then,  with  wrist  leading, 
carry  arm  to  horizontal  front ;  with  wrist  again  leading, 
but  bent  outward,  carry  arm  again  to  horizontal  lateral ; 
repeat  at  will,  then  let  arm  float  downward  to  side.  Do 
same  with  other  arm ;  same  with  both.  Repeat  the 
exercise  in  various  depths  and  heights  from  shoulder 
level. 

6.  With  both  arms  extended  to  right,  hands  at  hip-level 
and  wrists  leading  as  in  preceding  exercise,  carry  hands  to 
hip-level,  left,  then  again  to  right ;  continue  repeating  the 
exercise,  each  time  at  greater  altitude,  until  hands  move 
on  level  Avith  head.  In  executing  tins  movement  note 
that  the  wrists  are  in  opposing  positions. 

7.  With  arm  and  hand  in  flowing  motion  trace  in  space 
the  figure  eight  thus :  8,  and  thus  00,  through  three  or 
more  continuous  movements  from  front  to  lateral  in 
various  altitudes  with  each  hand  ;  with  both  hands.  Out- 
line in  similar  manner  ellipticals  and  circles,  large  and 
small. 

8.  Raise  arm  to  vertical  and  describe  through  space  a 
descending  spiral.  Be  careful  that  elbow  descends  with 
each  lowering  movement  of  arm,  keeping  arm  near  body; 
when  hand  reaches  shoulder  level  extend  arm  to  lateral 
and  then  down  to  side. 

9.  With  right  arm  describe  a  full  circle  from  left  to 
right,  then  continue  the  spiral  upward,  narrowing  it  each 
time  a  circle  is  made,  when  finally  all  motion  may  cease; 
the  hand  and  index  finger  for  a  moment  remaining  rigid, 
then  let  arm  float  outward  and  downward  to  side.  Do 
same  with  left.  Follow  the  same  order  of  exercise  to 
horizontal  front,  then  to  horizontal  lateral. 


VISIBLE   EXPRESSION   OR   GESTURE  2"!^ 

10.  Raise  arm  to  horizontal  front,  and  with  three  undu- 
lating motions  carry  it  to  lateral.  If  done  properly  the 
hand  will  seem  to  float  "  as  a  feather  is  drifted  down- 
ward." From  this  similarity  the  exercise  is  sometimes 
designated  the  Feather  Movement.  Repeat  at  will  with 
one  hand,  with  both  hands,  and  in  varying  altitudes. 
Similarly  to  the  preceding  trace  varying  forms  of  water 
waves. 

11.  Carry  pendant  hand  to  horizontal  front,  then  as 
hand  is  energizing  draw  upper  arm  partially  backward ; 
again  extend  hand  forward  with  finger-tips  upward, 
palms  facing  front,  at  same  time  turn  hand  through  half 
circle  until  finger-tips  point  downward,  palm  facing  front, 
fold  hand  inward  and  relaxed  toward  wrist,  carry  elbow 
downward,  folding  forearm  inward  until  finger-tips  are 
near  shoulder,  raise^  elbow  and  allow  hand  to  move  in 
front  of  shoulder  downward  to  side,  then  raise  arm  again 
as  before,  and  repeat  the  exercise  at  will.  Practice  in 
various  altitudes,  and  in  various  directions  from  front  to 
lateral.  This  exercise,  from  the  graceful  motion  of  one 
part  of  the  arm  with  that  of  another,  is  sometimes  called 
the  Serpentine  Movement. 

12.  Bring  extended  arm  and  energized  hand,  with  palm 
supine,  to  horizontal  front,  then  lower  elbow  and  bring 
hand  inward  until  wrist  almost  touches  shoulder,  relax 
hand  and  fold  it  inward,  at  same  time  raising  elbow, 
then  energizing  hand  in  front  of  shoulder,  carry  it 
with  decided  motion  oblique-back  to  right,  at  shoulder 
level,  palm  downward,  index  finger  strong,  then  let 
arm  float  downward  to  side.  Repeat  in  different  alti- 
tudes. 

13.  A  very  beautiful  and  graceful  exercise  is  that  of 
carrying  imaginary  gossamer  threads  through  space  and 

^^  delicately  attaching  them   with   one   or   both   hands  to 


230  ADVANCED   ELOCUTION 

the  body,  stepping,  bending,  and  tiptoeing  to  accomplish 
the  object. 

Note. — Combinations  may  be  made  from  parts  or  all  of  the  pre- 
ceding exercises.  They  are  valuable  not  only  for  the  control  of 
nerve  force  and  muscle,  but  also  as  affording  opportunity  for  the  free 
play  of  the  imagination. 

For  Head  and  Neck 

The  head  and  neck  exercises,  though  necessarily  few, 
are  none  the  less  valuable.  They  strengthen  and  develop 
the  chest  muscles,  they  correct  the  stoop  in  shoulders  so 
prevalent  among  students  and  those  of  sedentary  habits, 
and  conduce  to  graceful  contour  of  neck  and  noble 
carriage  of  head. 

1.  From  its  normal  position — that  is  easily  erect,  in* 
clined  neither  to  right  nor  left,  nor  up  nor  down — carry 
head  slowly  and  evenly  forward  to  chest  and  back  again 
to  position.  Do  same  backward,  same  to  right,  same  to 
left. 

2.  Lower  head  about  one-third  of  distance  to  chest,  and 
in  this  position  carry  it  toward  right  shoulder,  then  turn 
face  upward,  bringing  back  of  head  toward  left  shoulder, 
then  bow  head  downward  to  former  depression  at  right 
shoulder,  again  front,  and  back  to  position.  Do  same  to 
left.  Repeat  the  exercise  with  head  two-thirds  of  distance 
to  chest.  Repeat  the  exercise  with  head  carried  down- 
ward upon  chest. 

3.  Carry  head  forward  and  downward  to  chest,  rotate  to 
right  shoulder,  again  turn  face  upward  with  back  of  head 
on  left  shoulder,  slowly  rotate  head  until  it  .rests  upon 
right  shoulder,  then  carry  face  downward  to  left  shoulder, 
and  rotate  head  to  front,  and  lift  to  position.  Do  same 
reverse  order. 


VISIBLE   EXPRESSION   OR   GESTURE  231 

Opposition  Eaercises 

For  Head  and  Hands 

1.  With  arms  down  bring  right  hand  inward  upon 
chest,  same  time  bowing  head.  Slowly  return  both  to 
position.  Do  same  with  left  hand  and  head,  same  with 
both  hands  and  head. 

2.  Bring  right  hand  to  chest,  then  turn  head  to  left, 
at  same  time  carrying  right  hand  aversely  to  horizon- 
tal right  lateral  ;  return  hand  to  chest  and  head  to 
position.  Turn  head  to  right  and  right  hand  aversely 
to  left.  Do  same  reversely.  Do  same  with  head  to 
left  and  both  hands  aversely  to  right,  and  repeat  in  re- 
verse order. 

3.  With  right  hand  pendant,  carry  arm  forward  and 
upward  at  full  extension  overhead,  at  same  time  bowing 
head,  then  energize  hand,  palm  facing  front,  index  finger 
strong.  Reverse  the  order  by  carrying  hand  downward 
and  face  turned  upward.  Then  do  same  with  head  and 
left  hand. 

4.  1st. — Bring  right  hand  pendant  via  front  overhead, 
at  same  time  head  to  chest,  then  energize  hand,  palm 
facing  front.  2d. — Reverse  position  of  hand  and  head. 
3d. — Carry  head  to  normal  position  and  bring  right  hand 
upward  and  pendant  to  horizontal  lateral.  4th. — Return 
head  and  right  hand  to  chest.  5th. — Oppose  each  by 
carrying  hand  averse  to  right  and  head  bowed  to  left. 
6th. — Let  right  hand  float  downward  to  side  and  simul- 
taneously bring  left  hand,  palm  supine,  and  arm  extended 
lateral,  upward  and  inward  until  palm  of  hand  rests  upon 
back  of  head.  7th. — Raise  left  hand  upward  and  out- 
ward, permitting  it  to  float  downward  to  side,  at  same 
time  turn  face  upward  until  back  of  head  rests  midway 
between  spine  and  right  shoulder.     8th. — Carry  hands 


232  ADVANCED    ELOCUTION 

pendant  upward  to  horizontal  lateral,  at  same  time  rotat- 
ing head  to  right  until  the  back  of  head  rests  on  spine. 
9th. — Rotate  arms  until  palms  of  hands  are  supine. 
10th. — Bring  head  and  hands  to  chest.  11th. — Head 
back  again  on  spine,  at  same  time  elbows  rising  upward. 
12th. — Unfold  arms,  extending  them  upward,  oblique- 
front,  hands  supine.  13th. — Arms  to  lateral  and  float- 
ing downward  to  hip-level  and  head  to  normal  posi- 
tion. 14th. — Circle  arms  inward  to  oblique-front,  then  to 
lateral,  palms  facing  front,  and  lastly,  let  them  float 
downward  to  side.  Do  same  reversely.  Practice  this 
exercise  until  its  various  parts  are  as  one  connected 
whole. 

For  Trunk 

1.  With  arms  down,  depress  head  to  chest,  then 
lower  trunk  at  shoulders  and  finally  in  hips,  draw* 
ing  head  and  trunk  as  close  to  lower  limbs  as  contour 
of  body  will  permit.  Assume  normal  position.  Bend 
similarly  to  right,  left  foot  rising  at  heel.  Same  to 
left. 

2.  With  hands  well  back  on  hips,  feet  separated  twelve 
inches  at  heels,  knees  relaxed,  head  resting  on  spine 
slowly  bend  trunk  backward  to  any  point  easily  attained. 
Do  not  overdo. 

3.  With  arms  down  and  right  foot  advanced  once  its 
length  toward  oblique-front  right,  bend  trunk  downward  on 
line  with  right  knee.     Do  same  reversely. 

4.  With  hands  again  on  hips  and  right  foot,  once  its 
length,  oblique-back  right,  bend  trunk  backward  on  line 
with  right  heel.     Do  same  reversely. 

For  Lower  Lfimbs 

1.  With  heels  closed  and  toes  at  usual  angle,  carry  line 
of  gravity  forward  to  toes  and  backward  to  heels,  taking 


VISIBLE  EXPRESSION   OR  GESTURE  233 

care  not  to  bend  or  tip  the  body.     Repeat  a  number  of 
times. 

2.  Separate  heels  about  ten  inches,  carry  line  of 
gravity  to  right  side  of  ball  of  right  foot,  then  to  left 
side  of  ball  of  left  foot.  Again  to  right,  then  forward 
to  toes  and  to  left  and  back  to  heels.  Repeat  several 
times. 

3.  With  heels  closed,  rise  slowly  upon  balls  of  feet. 
Hold  position  while  counting  ten,  fifteen,  twenty,  or 
more. 

4.  Rise  as  before,  then  slowly  bend  knees,  permitting 
body  to  come  to  sitting  posture  on  heels.  Hold  position 
as  in  preceding. 

5.  Separate  heels  as  in  Exercise  2,  with  line  of  gravity  in 
right  foot  slowly  pivot  on  balls  of  feet  to  left.  Then  with 
line  of  gravity  in  left  foot  pivot  to  right.  Repeat  several 
times. 

6.  Do  same  with  one  foot  once  its  length,  in  advance  of 
the  other,  pivoting  to  rear. 

7.  Place  right  foot  once  its  length,  oblique-front  right 
and  with  line  of  gravity  centered  in  ball  of  foot ;  left 
foot  on  toe,  heel  falling  inward  toward  heel  of  right. 
Standing  thus,  count  ten,  twenty,  or  more.  Do  same 
reversely. 

8.  Place  right  foot  once  its  length  oblique-back,  right, 
line  of  gravity  and  heel  as  indicated  in  Exercise  7.  Count 
as  before.     Do  same  reversely. 

9.  Advance  right  foot  once  its  length  forward,  line  of 
gravity  as  in  Exercise  7.  Left  foot  on  toe,  with  hollow  of 
foot  toward  heel  of  right.  Count  as  before.  Do  same 
reversely. 

10.  Carry  right  foot  once  its  length  backward,  with  line 
of  gravity  centered  in  ball  of  right  foot,  toes  pointing  to 
right,  hollow  of  foot  toward  heel  of  left.  Count  as  before, 
and  do  same  reversely. 


234 


ADVANCED  ELOCUTION 


For  Entire  Body 

Exercise  1. — Place  left  foot  once  its  length 
back  of  right  foot,  then  place  hands  one  upon 
the  other  on  chest,  at  same  time  bowing  head ; 
next  carry  head  backward  upon  spine,  then 
carry  right  hand  forward  and  upward  to  ver- 
tical with  palm  facing  front,  at  same  time 
bring  head  to  normal  position,  and  sway  line 
of  gravity  forward  into  right  limb,  then  bring 
right  arm  forward  and  downward  to  middle 
realm,  then  both  arms  outward  and  down- 
ward to  side,  at  same  time  carrying  line  of 
gravity  into  left  limb. 

2.  Imperceptibly  advance 
right  foot  once  its  length  to 
oblique-front,  right,  then  bring  head  and 
hands  to  chest,  then  carry  hands  aversely, 
midway  between  shoulder  level  and  per- 
pendicular to  right  lateral,  at  same  time 
turning  head  over  left  shoulder  to  oblique- 
left  backward,  bending  strongly  in  left  hip 
and  knee.  Recover  position  and  do  same 
reversely. 

3.  Place  right 
foot  once  its  length 
forward,  knee  firm  and  supporting 
body,  then  carry  hands  inward,  and 
then  the  right  one  forward  to  middle 
realm  front,  with  palm  averse,  and 
left  to  lower  realm  lateral,  palm 
prone,  head  at  same  time  turned  to 
right,  looking  over  right  shoulden 
Recover  position  and  do  same  in 
reverse  order. 


VISIBLE   EXPRESSION    OR   GESTURE 


235 


4.  Advance  one  foot  once  its  length 
front,  then  carry  head  and  hands  to 
chest  and  kneel,  from  this  position 
extend  arms  upward  to  oblique-front, 
palms  supine,  then  clasp  hands,  bow- 
ing head  upon  knuckles ;  lastly,  carry 
head  to  position  and  rise  with  hands 
floating  outward  and  downward  to 
side. 

5.  Place  right  foot  twice  its  length 
to  lateral,  toes  pointing  directly  to 
right,  turn  face  upward,  at  same  time 
carry  arms  with  hands  pendant  to 
shoulder  level,  then  describing  a  circle, 
carry  them  horizontally  forward,  palms 
facing,  head  and  body  strongly  in  same 
direction,  right  knee  bent.  Then  pivot 
round  to  left,  bringing  right  arm  with 
head  pendant  overhead  and  left  hand 
prone  to  left  downward,  face  turned 
upward,  body  support  in  right  limb. 
Do  same  reversely. 

Note. — Many  beautiful  combinations  in  posing  may  be  made 
from  the  exercises  which  have  been  presented.  These  will  be  valu- 
able not  only  to  the  pupil,  but  pleasing  for  entertainment.  For 
posing  in  regard  to  sentiment,  see  Delsartean  Pantomimes,  by  the 
author  of  this  volume. 


PRINCIPLES  FOR  BASIC  POSITIONS 


"  Let  your  attitude,  as  well  as  gesture  and  *"ace,  foretell  what  you  would  mak« 
felt."— Delsarte. 

Mechanical  positions  and  movements  of  different  mem- 
bers of  the  body,  having  received  proper  attention  by 
means  of  the  preceding  gymnastic  exercises,  the  pupil  la 


236  ADVANCED  ELOCUTION 

prepared  to  enter  upon  the  study  of  visible  expression,  oi 
gesture.  This  can  be  best  accompHshed  by  considering 
certain  principles  founded  upon  psychic  indications,  using 
at  the  same  time  the  exercises,  which  illustrate  them. 
The  first  in  order  pertain  to  attitudes  from  the  base. 

Note. — In  basic  positions,  with  few  exceptions,  one  limb  be- 
comes the  sustaining  agent  and  the  other  the  balancing  agent,  and 
all  changes  from  one  foot  to  the  other,  exclusive  of  certain  kinds  of 
characterization,  should  be  marked  with  the  utmost  simpHcity. 

Again,  all  forward  positions  in  any  direction  from  a  centered 
point — whether  it  be  directly  front, obliquely  front,or  lateral — that 
is,  if  the  sustaining  foot  moves  forward  in  any  one  of  these  direc 
tions,  the  action  is  a  Progressive  or  Eccentric  one,  and  conversely 
if  the  sustaining  member  moves  backward,  either  directly  back- 
ward or  obliquely  backward,  the  action  becomes  a  Retrogressive 
or  Concentric  one.  In  practicing  the  exercises  intended  to  illus- 
trate these  or  any  other  principles,  always  endeavor  not  only  to 
ascertain,  but  also  to  feel,  the  sentiment  embodied  in  them. 

Principle  I 

Standing  on  narrow  base,  with  weight  upon  foot,  directly 
under  the  body,  the  other  slightly  advanced,  toes  outward 
at  the  usual  angle,  knee  of  forward  limb  slightly  relaxed, 
torso  easily  erect,  the  indication  is  that  of  dignity,  calm- 
ness, passivity,  or  repose. 

Exercises 

1.  "  The  city  and  republic  of  Carthage  were  destroyed  by 
the  termination  of  the  third  Punic  war,  about  one  hun- 
dred and  fifty  years  before  Christ." — From  ^'Destruction  of 
Carthage  " — Anonymous. 

2.  "  Calm  and  deep  peace  in  this  wide  air. 

These  leaves  that  redden  to  the  fall ; 
And  in  my  heart  if  calm  at  all. 
If  any  calm,  a  calm  despair." 

From  "  In  Memoriam  " —  Tennyson. 


VISIBLE  EXPRESSION   OR   GESTURE  237 

'  Now  came  still  evening  on,  and  twilight  gray, 
Had  in  her  sober  livery  all  things  clad ; 
Silence  accompanied,  for  beast  and  bird. 
They  to  their  grassy  couch,  these  to  their  nests 
Were  slunk — all  but  the  wakeful  nightingale ; 
She  all  night  long  her  amorous  descant  sung." 

From  "  Paradise  Lost " — Milton. 


Principle  II 

With  similar  bearing  of  torso,  and  foot  placed  as  in  Prin- 
ciple I,  but  with  weight  upon  forward  foot,  and  backward 
one  slightly  lifted  at  heel,  and  knee  a  little  relaxed,  the  in- 
dication is  that  of  quiet  interest,  attention,  or  intention. 

Exercises 

1.  "  Near  yonder  copse,  where  once  the  garden  smiled, 
And  still  where  many  a  garden  flower  grows  wild. 
There,  where  a  few  torn  shrubs  the  place  disclose. 
The  village  preacher's  modest  mansion  rose. 
A  man  he  was  to  all  the  country  dear. 
And  passing  rich — with  forty. pounds  a  year !" 

From  "  The  Deserted  Village  " — Goldsmith. 

2.  *'  Paul  had  never  risen  from  his  little  bed.  He  lay 
there,  listening  to  the  noises  in  the  street,  quite  tranquilly ; 
not  caring  much  how  tlie  time  went,  but  watching  it,  and 
watching  everything.  When  the  sunbeams  struck  into 
his  room  through  the  rustling  blinds,  and  quivered  on  the 
opposite  wall  like  golden  water,  he  knew  that  evening  was 
coming  on,  and  that  the  sky  was  red  and  beautiful.  As 
the  reflection  died  away,  and  a  gloom  went  creeping  up 
the  wall,  he  watched  it  deepen,  deepen,  deepen  into 
night." — From  "  Dombey  and  Son  " — Dickens. 

3.  "  The  way  was  long,  the  wind  was  cold, 
The  Minstrel  was  infirm  and  old; 
His  withered  cheek  and  tresses  gray 
Seemed  to  have  known  a  better  day ; 


238  ADVANCED    ELOCUTION 

The  harp,  his  sole  remaining  joy, 
Was  carried  by  an  orphan  boy ; 
The  last  of  all  the  bards  was  he, 
Who  sung  of  Border  chivalry." 

From  ^^Lay  of  the  Last  Minstrel  " — Scott 

Principle  III 

With  basic  position  same  as  in  Principle  I,  but  feet 
more  separated  in  the  lengths,  and  with  line  of  gravity  in 
heel  of  backward  foot,  with  torso  somewhat  relaxed  in 
shoulders,  the  indication  is  that  of  meditation,  abstraction, 
or  concentrated  thought. 

Exercises 

1.  "If  it  were  done,  when  'tis  done,  then  't  were  well 
It  were  done  quickly  :  if  the  assassination 
Could  trammel  up  the  consequence,  and  catch 
With  his  surcease  success ;  that  but  this  blow 
Might  be  the  be-all  and  the  end-all  here, 
But  here  upon  this  bank  and  shoal  of  time. 
We'd  jump  the  life  to  come." 

From  "  Macbeth' s  Soliloquy  " — Shakespeare. 

2.  "  It  must  be  so  !  Plato,  thou  reason'st  well : 

Else,  whence  this  pleasing  hope,  this  fond  desire. 
This  longing  after  immortality ; 
Or,  whence  this  secret  dread,  and  inward  horror. 
Of  falling  into  nought?" 

From  ^^Cato^s  Soliloquy  " — Addison. 

3.  "  Farewell,  a  long  farewell,  to  all  my  greatness  ! 

This  is  the  state  of  man  ;  to-day  he  puts  forth 
The  tender  leaves  of  hopes ;  to-morrow  blossoms, 
And  bears  his  blushing  honors  thick  upon  him ; 
The  third  day  comes  a  frost,  a  killing  frost, 
And,  when  he  thinks,  good  easy  man,  full  surely 
His  greatness  is  a-ripening,—  nips  his  root, 
And  then  he  falls  as  I  do." 

From  "  Wolsey^s  Soliloquy  " — Shakespeare. 


VISIBLE   EXPRESSION    OR   GESTURE  289 

Principle  IV 

With  basic  position  same  as  in  Principle  II,  but  feet 
more  separated  in  the  lengths,  unsupporting  foot  on  toe, 
its  heel  turned  inward  toward  heel  of  sustaining  foot, 
thus  giving  greater  length  to  the  limb,  chest  strongly 
raised,  the  indication  is  that  of  active  interest,  desire, 
earnestness,  eagerness,  courage,  boldness,  enthusiasm,  or 
vehemence. 

Exercises 

1.  "  The  war  is  inevitable ;  and  let  it  come !  I  repeat  it, 
sir,  let  it  come !  It  is  in  vain,  sir,  to  extenuate  the  matter. 
Gentlemen  may  cry  ^  Peace !  Peace !'  but  there  is  no 
peace  I  The  war  is  actually  begun !  The  next  gale  that 
sweeps  from  the  north  will  bring  to  our  ears  the  clash  of 
resounding  arms  !"  —  From  ''  Oa  British  Government  in 
America  " — Patrick  Henry. 

2.  "  Hurrah  for  Merrie  England  now !    Hurrah  for  France, 
the  grand  I 
As  we  charge  the  foe  together,  all  abreast,  and  hand  to 

hand. 
Hurrah,  the  mighty  host  doth  melt  before  our  fervent 

heat. 
And  against  our  side  the  ebbing  flood  does  faint  and 
fainter  beat. " 

From  ''''The  Battle  of  Inkea-man  " — Massey. 

3.  "  The  blood  of  our  fathers  calls  to  us  from  the  soil 
which  we  tread  ;  it  beats  in  our  veins ;  it  cries  to  us  not 
merely  in  the  thrilling  words  of  one  of  the  first  victims  in 
this  cause, — '  My  sons,  scorn  to  be  slaves  !' — but  it  cries 
with  a  still  more  moving  eloquence — '  My  sons,  forget  not 
your  Fathers  !' " — On  ^^National  Character  " — Evei-ett. 

Principle  V 

With  feet  considerably  separated,  backward  limb  sup- 
porting, knees  relaxed,  and  torso  retracted,  with  shoulders 


240  ADVANCED  ELOCUTION 

drawn  forward  and  chest  correspondingly  inward,  the  in- 
dication is  that  of  fear,  dread,  anguish,  or  terror. 

Exercises 

1.  "Angels  and  ministers  of  grace  defend  us!" — Fi'om 
^^ Hamlet  " — Shakespeare. 

2.  "Whence  is  that  knocking?''— '' Macbeth''— Shake- 
speare. 

3.  "  No  more  1  No  more !  I  don't  wish  to  see  it.  Show 
me  no  more!" — From  ^^ Christmas  Carol" — Dickens, 

Principle  VI 

With  feet  considerably  separated,  weight  on  backward 
limb,  but  both  limbs  rigid,  torso  raised  and  tense,  the  in- 
dication is  that  of  independence,  resistance,  defiance,  scorn, 
contempt,  or  derision. 

Exercises 

1.  "I've  scared  ye  in  the  city;   I've  scalped  ye  on  the 

plain ; 
Go,  count  your  chosen  where  they  fell  beneath   my 

leaden  rain ! 
I  scorn  your  proffered  treaty !  the  paleface  I  defy  ! 
Revenge  is  stamped  upon  my  spear,  and  '  blood '  my 

battle-cry !" 

From  ^^The  Seminole's  Defiance" — G.  W.  Patten. 

2.  "  But  here  I  stand  and  scoff  you ; 

Here  I  fling  hatred  and  full  defiance  in  your  face ! 
Your  Consul's  merciful — for  this  all  thanks. 
He  dares  not  touch  a  hair  of  Catiline  !" 

From  '^T7ie  Tragedy  of  Catiline  " — Croly. 

3.  "  You  say  you  are  a  better  soldier : 

Let  it  appear  so ;  make  your  vaunting  true, 
And  it  shall  please  me  well.     For  mine  own  part, 
I  shall  be  glad  to  learn  of  noble  men." 

From,  ^^  Julius  Caesar  " — Shakespeare, 


VISIBLE   EXPRESSION    OR   GESTURE  241 

Principle  VII 

With  heels  closed,  toes  outward  at  the  usual  angle,  both 
limbs  supporting  torso  easily  erect,  the  indication  is  that 
of  respect,  obedience,  or  deference. 

Exercises 

1.  "  General,  I  await  your  orders." — Anon, 

2.  "  Gentlemen,  my  master  Antonio  is  at  his  house  and 
desires  to  speak  with  you  both." — From  ^^ Merchant  of 
Venice  " — Shakespeare. 

3.  "  Most  potent,  grave,  and  reverend  signiors, 
My  very  noble  and  approv'd  good  masters — 
That  I  have  ta'en  away  this  old  man's  daughter, 
It  is  most  true ;  true,  I  have  married  her : 
The  very  head  and  front  of  my  offending 
Hath  this  extent,  no  more." 

From  ^^Othello^s  Apology  " — Shakespeare. 

Principle  VIII 

With  feet  somewhat  separated,  and  nearly  parallel,  both 
limbs  supporting,  the  indication  is  that  of  weakness,  in- 
fancy, decrepitude,  or  old  age. 

Exercises 

1.  "  I'm  Feddie  an'  I'm  most  free  years  ole,  an'  I  can 
walk  nearly  as  good  as  gan'pa." 

2.  "  Pardon  me,  gentlemen,  but  I  have  come  here  in 
great  feebleness  of  body  to  plead  my  case  before  you." 

3.  "  Pity  the  sorrows  of  a  poor  old  man. 

Whose  trembling  limbs  have  borne  him  to  your  door." 

Principle  IX 

AVith   feet  close   together,  and  parallel,  knees  relaxed, 
chest  and  elbows  inward,  the  indication  is  that  of  timidity 
or  want  of  self-assertion. 
16 


242  ADVANCED   ELOCUTION 


Exercises 


1.  ''  Good  gracious  me !  What  a  complication  of  misery ! 
How — de — do?  I — I — I'm  afraid  you  must  have  got  very 
wet." — Toots  in  ^^Dombey  and  Son  " — Dickens, 

2.  "  I  am,  sir,  sensible — I  am,  indeed, — that,  though — 
I  should — want — words — I  must  proceed  ;  and,  for  the 
first  time  in  my  life,  I  think — I  think — that — no  great 
orator  should  shrink ; — and,  therefore,  Mr.  Speaker,  I  for 
one — will  speak  out  freely.  Sir, — I've  not  yet  done.  Sir, 
in  the  name  of  those  enlightened  men  who  sent  me  here 
to — speak  for  them — why  then,  to  do  my  duty — as  I 
said  before — to  my  constituency — I'll  say  no  more." — 
From  '''■An  Orator^s  First  Speech  in  Parliament  " — Alexander 
Bell. 

Principle  X 

With  feet  somewhat  separated,  toes  pointing  forward  or 
turned  slightly  inward,  and  torso  distorted,  the  indication 
is  that  of  boorishness  or  rusticity. 

Exercises 

1.  "Wall,  I'll  let  yee  hev  the  boss  an'  kerridge  fer 
twenty-five  cents  an  hour,  an'  thet's  about  as  cheap  as 
you'll  git  it  any  whor  in  these  diggins." 

2.  "  Truly  shepherd  in  respect  of  itself  it  is  a  good  life ; 
but  in  respect  that  it  is  a  shepherd's  life,  it  is  naught.  In 
respect  that  it  is  solitary,  I  like  it  very  well ;  but  in  re- 
spect that  it  is  private,  it  is  a  very  vile  life." — The  ClowUf 
from  ^^As  You  Like  It  " — Shakespeare. 


Principle  XI 

With  base  broad,  heels  parallel,  both  limbs  supporting, 
torso  well  drawn  upward,  the  indication  is  that  of  famil- 
iarity, bravado,  or  astonishment. 


VISIBLE  EXPRESSION   OR  GESTURE  243 

Exercises 

1.  "  Eleven  men  in  buckram  set  upon  me  from  the  front ; 

Three  knaves  in  Kendal  green  came  at  my  back,  and 
let  drive  at  me.     I  paid  them  well." 

Falstaffy  from  "  Henry  /F" — Shakespeare. 

2.  "  By  your  leave,  Miss  Snooks,  I'll  say  what  I  please 

Of  my  houses,  my  lands,  my  gardens,  and  m-y  trees." 

Principle  XII 

With  short,  cat-like  movement,  on  balls  of  feet,  torso 
inclined  forward  and  slightly  bent  at  hips,  the  indication 
is  that  of  caution,  secrecy,  or  scrutiny. 

Exercises 

1.  "  Hush !  let  us  approach  with  the  greatest  caution." 

2.  "  Stop  lafiin,  Solomon  Burke ;  keep  still." 

3.  "  Move  cautiously  and  slowly,  lest  we  rouse  the 
sleepers." 

Principle   XIII 

With  frequent  changes  of  balance  from  one  foot  to  the 
other,  the  indication  is  that  of  anxiety,  nervousness,  or 
embarrassment. 

Exercises 

Childish  Embarrassment 

1.  "  You'd  scarce  expect  one  of  my  age 
To  speak  in  public,  on  the  stage ; 
But  if  I  chance  to  fall  below 
Demosthenes  or  Cicero, 
Don't  view  me  with  a  critic's  eye, 
But  pass  my  imperfections  by." 

Note. — Other  basic  positions  may  and  do  occur,  especially  such 
as  evolve  themselves  from  some  peculiar  habit  or  gait.  It  is  well 
to  observe  these  eccentricities  in  others,  as  they  often  prove  avail- 
able in  characterization. 


244  ADVANCED   ELOCUTION 


PRINCIPLES  FOR  HEAD  ATTITUDES 

"  Give  the  sign,  and  you  suggest  the  mood,  for  every  mood  has  its  natural 
sign. '  '—Moses  True  Browh  . 

The  correct  carriage  of  the  head  has  been  described  in 
the  gymnastic  exercises. 

There  remains  now  to  show  its  position  or  inclination 
under  some  of  the  dominating  States  of  the  Being,  and  here, 
as  in  the  basic  positions,  according  to  the  state  or  condi- 
tion, so  is  the  manifestation.  Do  not  conclude  that  the 
following  principles  sum  up  the  head  positions.  They 
do  not ;  they  are  merely  aids  to  the  pupil  in  obtaining 
command  of  himself  in  expression.  The  numberless  and 
beautiful  complexities  in  this,  as  in  all  manifestation,  can- 
not be  detailed. 

It  will  be  observed  that  when  the  forehead  acts,  as  it 
were,  as  a  leader,  the  condition  is  conspicuously  a  mental 
one ;  when  the  lower  part  of  the  head  or  jaw  acts  as  leader, 
the  condition  is  conspicuously  a  vital  one,  and  when  the 
head  is  poised  or  normal  the  condition  is  conspicuously  a 
moral  one. 

Principle  I 

Head  level  between  shoulders,  inclined  neither  to  right 
nor  left,  nor  up  nor  down  ;  the  indication  is  that  of  calm- 
ness, dignity,  or  repose. 

Exercises 

1.  "  0,  pleasant  breast  of  waters,  quiet  bay, 

Like  to  a  quiet  mind  in  the  loud  world." 

From  ''The  Lover^s  TaW^ — Tennyson. 

2.  "  From  the  cool  cisterns  of  the  night  my 

Spirit  drinks  repose." 


VISIBLE   EXPRESSION   OR   GESTURE  245 

Principle  II 

Head  inclined  toward  object  addressed  or  contemplated ; 
the  indication  is  that  of  interest,  sympathy,  confidence, 
admiration,  or  love. 

Exercises 

1.  "  Have  I  not  been  nigh  a  mother 

To  thy  sweetness — tell  me,  dear? 
Have  we  not  loved  one  another 
Tenderly  from  year  to  year, 
Since  our  dying  mother  mild 
Said,  with  accents  undefiled, 
Child,  be  mother  to  this  child  !" 
From  ^^ Bertha  in  the  Lane  " — Mrs.  Browning. 

2.  "  Will  you  trust  me,.  Katie,  dear  ? 

Walk  beside  me  without  fear  ? 

May  I  carry,  if  I  will. 

All  your  burdens  up  the  hill  ?" 

From  ''''Katie  Lee  " — Anonymous. 

Principle  III 

Head  carried  away  from  object  addressed  or  contem- 
plated ;  the  indication  is  that  of  disdain,  contempt,  haughti- 
ness, suspicion,  or  scorn. 

Fkercises 

1.  "  You  sought  to  prove  how  I  could  love, 
And  my  disdain  is  my  reply. 
The  lion  on  your  old  stone  gates 
Is  not  more  cold  to  you  than  I." 
From  ^^Lady  Clara  Vere  de  Vere  " — Tennyson. 

2.  "  But  you — wretch !  you  could  creep  through  the 
world  unaffected  by  its  various  disgraces,  its  ineffable  mis- 
eries, its  constantly  accumulating  masses  of  crime  and  sor- 
row— you  could  live  and  enjoy  yourself,  while  the  noble- 
minded  are  betrayed  !" — From  ^^Death  oj  Morris  " — Scott. 


246  ADVANCED   ELOCUTION 


Principle  IV 


With  head  forward  and  chin  upward ;  the  indication  is 
that  of  hope,  desire,  petition,  or  worship. 

Exercises 

1.  "  Give  your  children  food,  O  Father! 

Give  us  food,  or  we  must  perish ! 
Give  me  food  for  Minnehaha, 
For  my  dying  Minnehaha !" 

From  ^''Hiawatha  " — Longfellow, 

2.  "  Mother,  mother,  up  in  heaven, 

Stand  up  on  the  jasper  sea. 
And  be  witness  I  have  given 

All  the  gifts  required  of  me — 
Hope  that  bless'd  me,  bliss  that  crown'd, 
Love  that  left  me  with  a  wound — 
Life  itself  that  turneth  round !" 

From  "  Bertha  in  the  Lane  " — Mrs.  Browning. 


Principle  V 

Head  down,  chin  in ;  the  indication  is  that  of  resigna- 
tion, humility,  reverence,  meditation,  modesty,  abasement, 
or  shame. 

Exercises 

1.  "  Go,  get  thee  from  me,  Cromwell ; 

I  am  a  poor,  fallen  man,  unworthy  now 
To  be  thy  lord  and  master !" 

From  ^^ Henry  VIII ^^ — Shakespeare. 

2.  "  My  sins  as  scarlet  are  ;  let  me  go  hence, 

And  in  some  cloister's  school  of  penitence, 
Across  those  stones,  that  pave  the  way  to  heaven. 
Walk  barefoot,  till  my  guilty  soul  be  shriven !" 

From  ^^King  Robert  oj  Sicily  " — Longfellow. 


VISIBLE   EXPRESSION   OR   GESTURE  247 

Principle  VI 

Head  held  erect;  the  indication  is  that  of  joy,  exulta- 
tion, courage,  or  triumph. 

Exercises 

1.  "  Hurrah !   hurrah !   a  single  field  hath  turned  the 

chance  of  war, 
Hurrah !   hurrah !   for  Ivry,  and  King   Henry  of 
Navarre !" 

From  ''  The  Battle  of  Ivry  "  — Macaulay. 

2.  "  It  is  my  living  sentiment,  and  by  the  blessing  of 
God,  it  shall  be  my  dying  sentiment ;  independence  now, 
and  independence  forever!" — From  ^^ Supposed  Speech  of 
John  Adairis  " —  Webster. 

Principle  VII 

Head  same  as  preceding,  but  carried  a  little  further 
backward ;  pride,  anger,  or  defiance. 

Exercises 

1.  "  And  if  thou  said'st  I  am  not  peer 

To  any  lord  in  Scotland  here, 
Lowland  or  Highland,  far  or  near. 
Lord  Angus,  thou  hast  lied." 

From  ^^Marmion'^ — Scott 

2.  "  My  lords,  I  care  not,  if  my  actions 

Were  tried  by  every  tongue,  every  eye  saw  them. 
Envy  and  base  suspicion  set  against  them, 
I  know  my  life  so  even." 

From  ^^  Queen  Katharine,  Henry  VIII  ^^ — Shakespeare. 

Principle  VIII 

The  nod  of  the  head  forward  is  indicative  of  approval, 
affirmation,  approbation,  emphatic  declaration. 


248  advanced'  elocution 

Exercises 

1.  "  Yes,  you  have  my  full,  free,  and  hearty  approval." 

2.  "  This  needs,  must  and  shall  be  done." 

3.  "  Ay,  my  liege,  so  please  you  give  me  leave." 

Principle  IX 

9 

The  shake  of  the  head,  or  "rotation,"  is  indicative  of 
doubt,  denial,  negation,  exasperation,  regret. 

Exercises 

1.  "  No,  believe  me,  I  saw  none." 

2.  "  Blow,  winds,  and  crack  your  cheeks !  rage  !  blow !" 

3.  "  0  Absalom,  my  son,  my  son !" 

Principle  X 

Head  inclined  toward  either  shoulder,  is  indicative  of 
weariness,  languor,  or  doubt. 

Exercises 

1.  "  0,  I  am  aweary,  and  I  would  that  life  were  ended." 

2.  "  I  am  amaz'd,  methinks,  and  lose  my  way 

Among  the  thorns  and  dangers  of  this  world." 

From  "  King  John  " — Shakespeare. 

Principle  XI 

Head    somewhat    drooped,    is    indicative    of   sorrow, 
depression,  or  discouragement. 

Exercises 
1.  "  Gone — my  lord  ! 

Gone  thro'  my  sin  to  slay  and  to  be  slain ! 
And  he  forgave  me,  and  I  could  not  speak. 
Farewell  ?     I  should  have  answer'd  his  farewell, 
His  mercy  choked  me." 

From  ^^ Guinevere'''' — Tennyson. 


VISIBLE  EXPRESSION   OR  GESTURE  249 

2.  "  Farewell,  0  my  Laughing  Water ! 
All  my  heart  is  buried  with  you, 
All  my  thoughts  go  onward,  with  you  I 
Come  not  back  again  to  labor, 
Come  not  back  again  to  suffer, 
Where  the  famine  and  the  fever 
Wear  the  heart  and  waste  the  body." 

From  "  Hiawatha  " — Longfellow. 

Principle  XII 

Head  thrust  forward ;  the  indication  is  that  of  scrutin^p 
or  curiosity. 

Exercises 

1.  "  He's  up  in  the  shed ! 

He's  opened  the  winder, — I  see  his  head ; 

He  stretches  it  out. 

An'  pokes  it  about, 
Lookin'  to  see  'f  the  coast  is  clear, 
An'  nobody  near  ;- 
Guess  he  do' 

FroTKh  '"''Darius  Green ^^ — Trowbridge. 

2.  "  Something  to  landward,  sure  I  view ; 

Far  ahead,  I  can  just  behold 
Silken  sails,  with  a  border  of  gold." 

From  ^^  Sailing  of  King  Olaf'* — Broiherton. 


THE  ARMS 

"  Man  is  not  only  in  the  centre  of  the  universe,  but  he  possesses  a  human  centre 
within  himself,  toward  which,  from  which,  or  with  which  his  maiiifestatious 
necessarily  move."— Fullerton. 

While  gesturing  may  be  defined,  in  a  general  way,  as  ex- 
pression through  the  various  members  of  the  body,  in  its 
more  restricted  sense,  it  means  that  which  is  done  through 
the  motions  of  the  arm  and  positions  of  the  hand.  The 
arm  centres  of  motion  are  the  shoulder^  elbow ^  and  wrist ^  and 
from  these  centres  the  arm  radiates  from  the  body  in 


250  ADVANCED   ELOCUTION 

various  directions ;  or  from  an  outward  direction  or  posi- 
tion it  is  brought  inward  and  upon  the  body,  thus  be- 
coming reflexive,  both  in  action  and  meaning. 

According  to  natural  law,  every  human  being,  in  rela- 
tion to  the  universe,  stands,  as  it  were,  upon  the  earth's 
centre,  and  all  his  motions  and  positions  are  necessarily 
in  accordance  with  this  law.  Therefore  all  our  concep- 
tions of  the  real  or  the  ideal,  both  literal  and  figura- 
tive, must  necessarily  be  from  this  standpoint.  Hence, 
if  above  us,  the  movements  of  the  arms  and  hands  in 
gesticulation  will  be  upward,  if  below  us  the  movements 
will  be  downward;  or  horizontal,  if  on  the  same  plane 
with  us,  using  one,  two,  or  three  sets  of  arm  levers  as  may 
best  convey  the  meaning. 

For  convenience  these  three  planes  or  realms  may  be 
represented  as  follows :  that  which  is  above,  as  the  "  Realm 
of  the  Superior ;"  that  which  is  below,  as  the  "  Realm  of 
the  Inferior,"  and  that  which  surrounds,  as  the  "  Realm 
of  Equality."  The  following  Principles  then  may  be  for- 
mulated in  regard  to  arm  directions. 

Principle  I 

The  Mental  side  of  the  Being  largely  dominates  the 
Realm  of  Equality;  hence  ordinary  statement  of  facts, 
general,  geographic,  and  historic  references,  and  address 
to  the  human  or  the  superhuman,  either  existing  or  sup- 
posed to  exist  on  our  planet,  are  usually  indicated  or  ren- 
dered impressive  by  gestures  somewhere  in  this  Realm. 

Principle  II 

The  Moral  side  of  the  Being  largely  dominates  the 
Realm  of  the  Superior ;  hence  reference  or  address  to  sub- 
stance, real  or  imagined,  conceived  to  exist  above  us ;  that 
which    ennobles,    refines,    glorifies,    deifies,    and    ideas 


VISIBLE   EXPRESSION   OR   GESTURE  251 

prompted  by  an  approving  conscience  are  usually  indi- 
cated or  made  impressive  by  gestures  somewhere  in  this 
Realm. 

Principle  III 

The  Vital  side  of  the  Being  largely  dominates  the  Realm 
of  the  Inferior ;  hence  reference  or  address  to  substance, 
real  or  imagined,  conceived  to  exist  below  us,  as  that 
which  destroys,  degrades,  debases,  brutalizes — shows  de- 
cision and  determination,  and  ideas  prompted  by  a  disap- 
proving conscience,  are  usually  indicated  or  made  impres- 
sive by  gestures  somewhere  in  this  Realm. 

These  Principles  are  not  absolute ;  the  manifestations 
through  complexities  may  cause  the  arm  to  invade  either 
of  the  other  realms  than  the  one  to  which  the  Principle 
ascribes  it ;  nevertheless,  in  the  primary  conditions,  the 
Principle  will  hold  true. 

As  the  arms  move  upward  or  downward,  in  the  expres- 
sion of  thought  or  feeling,  they  move  correspondingly  out- 
ward or  inward  in  any  of  the  realms.  The  gesture  in  any 
realm  anywhere  along  the  line  of  the  front  of  the  person 
gesticulating,  is  indicative  of  especial  nearness,  directness, 
address,  appeal,  and  unity ;  away  from  the  front,  toward 
the  oblique,  it  is  indicative  of  indirectness,  generalization, 
and  plurality ;  toward  the  lateral  it  indicates  separation, 
withdrawal,  plenitude,  completeness,  vastness,  and  univer- 
sality. 

Note. — These  gestures  do  not  refer  to  those  which  bring  the 
hand  inward  upon  tlie  body,  and  are  termed  reflexive. 

In  all  that  pertains  to  natural  and  effective  delivery 
when  the  hands  are  carried  upward  or  downward,  outward 
or  inward,  to  any  given  point,  the  arms  will  move,  either 
in  a  direct  line,  or  will  be  deflected  from  a  direct  line, 
moving  through  parts  of  an  arc  or  circle,  according  to  the 
character  of  the  thought  or  feeling  expressed.     Both  the 


252  ADVANCED  ELOCUTION 

direct  and  deflected  movements  are  in  harmony  with  the 
vocal  movement,  which  is  also  direct,  or  in  waves  or  in- 
flections. Again  both  voice  and  action  harmonize  in  this 
respect.  If  the  sentiments  be  unimportant  or  trivial  the 
syllabic  utterance  and  the  arm  movement  will  be  corre- 
spondingly limited  or  shortened,  using  in  the  arm  move- 
ment only  wrist,  or  wrist  and  elbow  centres.  On  the  con- 
trary, if  the  Being  is  dominating  some  noble  theme,  or 
intense  passion,  the  syllabic  utterance  will  be  through 
wide  ranges  of  intonation,  direct  or  inflected,  and  the 
arm  move  correspondingly,  either  in  a  direct  or  deflected 
way,  through  wide  ranges  of  space. 

Gesture  in  relation  to  State  of  the  Being  may  be  divided 
into  descriptive,  imitative,  emphatic,  and  passional. 

Descriptive  gestures  are  used  in  locating,  pointing  out, 
or  describing  objects,  either  literally  or  figuratively.  Such 
gestures  have  value,  but  too  often  the  reader  or  reciter 
makes  so  constant  and  free  use  of  them  as  to  lose  sight  of 
the  more  important  parts  of  his  theme. 

Imitative  Gestures^  if  controlled  by  good  judgment,  impart 
a  graphic  power  to  recital  or  delivery,  but  when  used  by 
the  "  unskillful  they  do  make  the  judicious  grieve."  Fre- 
quently imitation  or  mimicry  is  introduced  in  recitals  im- 
properly and  falsely.  In  doing  so  the  law  of  suggestion 
is  violated  and  the  too  literal  representation  falls  like  a 
slow  nightmare  upon  an  audience.  Such  pernicious  rep- 
resentations cannot  be  too  strongly  condemned.  Literal 
representation  may  be  used  in  a  literal  characterization,  or 
in  an  acted  part,  though  not  even  then  if  it  is  likely  to 
shock  the  sensibilities  of  the  hearers. 

It  may  also  be  allowed  where  the  language  has  led  up 
to  a  climax,  requiring  a  delineation  commensurate  with 
the  vocal  expression.  Except  in  these  cases  imitative 
gestures  should  not  be  attempted. 


VISIBLE   EXPRESSION   OR   GESTURE  253 

Emphatic  Gestures  are  used  to  assist  the  voice  in  enforcing 
or  emphasizing  thought  or  feeling,  and  contribute  largely 
to  the  effectiveness  of  the  orator  or  speaker  who  is  discrim- 
inating in  their  use. 

Passional  Gestures  are  pre-eminently  the  representation 
of  strong  emotion,  and  mark  the  highest  phases  of  dra- 
matic and  oratorio  art. 

A  gesture  is  made  up  of  three  parts,  the  preparation, 
the  ictus  or  stroke,  and  the  return ;  or  if  not  the  return,  the 
passing  of  the  hand  by  transition  from  one  form  of  gesture 
to  another.  The  stroke  should  be  simultaneous  with  the 
vocal,  impulse  given  to  the  more  important  parts  of  the 
language,  the  stroke  of  the  gesture  being  to  the  eye  what 
emphasis  and  inflections  of  the  voice  are  to  the  ear.  Al- 
though a  gesture  is  made  up  of  three  parts,  the  greatest 
simplicity  should  be  observed  in  passing  from  one  part  to 
another,  so  that  the  thought  or  feeling  is  made  pre-eminent 
and  not  the  action.  It  is  better  to  allow  the  voice  alone  to 
express  the  sentiment  than  to  have  the  attention  distracted 
by  the  manner.  A  display  of  ornate  or  meaningless  ges- 
ticulation often  weakens  the  thought. 

Transition  in  gesture  is  a  movement  in  which  the  hand 
is  carried  from  one  form  of  gesture  to  another  without 
first  returning  to  a  rest  point.  Its  place  is  to  assist  the 
voice  when  there  is  continuity  of  thought.  Especially  is 
its  value  seen  in  the  rhetorical  climax,  for  a  climax  in 
thought  and  feeling  should  have  a  corresponding  climax 
in  voice  and  action. 


254  ADVANCED   ELOCUTION 


HAND   INDICATIONS 


"  The  hand  may  properly  be  called  the  second  tongue,  because  Nature  has 
adapted  it,  by  the  most  wonderful  contrivance,  for  illustrating  the  art  of  per 
suasion."— Artemidorus. 

In  the  ages  past,  when  the  mechanism  of  the  human 
frame  was  little  understood,  the  power  and  capability  of 
the  hand  was  recognized  as  an  agent  of  expression. 
Ancient  orators  said  of  it :  "It  speaks  for  itself;  it  is  a  uni- 
versal language ;  without  it  is  no  eloquence."  We  of  to- 
day, in  the  light  of  a  higher  civilization,  should  not  under- 
estimate this  means  of  communication  with  which  man 
has  been  so  graciously  endowed. 

The  hand  as  a  part  of  the  arm,  is  carried  by  the  latter 
to  certain  objective  or  subjective  points,  wherein  by  posi- 
tion or  significant  movement,  it  conveys  a  meaning.  As 
with  all  the  media  of  expression,  there  must  be  secured 
first,  mastery  of  muscle  through  control  of  nerve  force, 
and  second,  appropriateness  in  manifestation,  before  the 
highest  results  in  delivery  can  be  attained,  or  the  multi- 
tudinous variety  of  hand  indications  be  left,  with  any 
degree  of  confidence,  to  the  individuality  of  the  speaker 
or  reciter.  The  hand,  like  other  parts  of  the  body, 
indexes  the  three  States  of  the  Being,  and  makes  use  of  the 
same  modes  of  motion,  the  eccentric,  concentric,  or  nor- 
mal, or  their  various  blendings ;  for  whatever  state  or 
condition  dominates  the  centre,  must  perforce  liberate 
itself  in  the  same  way  through  all  the  avenues  of  tlie 
body,  even  to  the  finger-tips.  It  not  infrequently  happens 
that  an  untrained  speaker  possesses  only  a  meagre  variety 
of  hand  gesticulation ;  but  as  the  rhetorician  makes  use 
of  an  extended  and  choice  vocabulary,  to  give  the  finest 
and  most  impressive  utterance  of  his  thoughts,  so  the 
speaker,  to  attain  the  greatest  success  in  delivery,  should 
have  all  varieties  of  symbolization  at  his  command. 


VISIBLE   EXPRESSION   OR   GESTURE  255 

In  gesturing  there  is  no  choice  as  to  which  hand  shall 
be  used.  The  action  of  the  left  arm  is  as  necessary  as  that 
of  the  right,  except  in  certain  conventional  forms,  as  ex- 
tending the  hand  to  another  in  welcome,  or  in  solemn 
adjuration,  etc.  Both  hands,  in  simultaneous  action,  indi- 
cate a  greater  degree  of  intensity  than  is  shown  by  one 
alone.  The  palm  is  the  most  expressive  part  of  the  hand ; 
from  it  the  outer  parts  receive  their  action,  and  in  the  free 
opening  and  closing  of  the  hand  is  found  a  primary  con- 
dition of  visible  eloquence,  for  the  palm,  well  presented  to 
the  hearer,  is  capable  of  great  power  of  expression. 

Note. — Only  a  few  of  the  hand  indications  are  given  here,  such 
as  are  most  frequently  used  and  are  plainly  expressive  of  the 
sentiment.  These,  if  properly  practiced,  will  lead  to  ease  and 
finish  in  other  forms  of  hand  gesticulation. 

In  these  exercises  as  well  as  in  all  instruction  regarding  de- 
livery, the  pupil  is  placed  at  a  disadvantage,  unless  he  has  the 
living  instructor. 

The  Hand  Supine  (palm  away  from  earth)  is  exceed- 
ingly broad  in  its  signification.  It  is  the 
giving  and  deciding  hand — it  is  free,  open, 
genial;  therefore  it  may  be  said  that  it 
affirms,  invites,  declares,  invokes,  petitions, 
accepts,  defines,  concedes,  reveals,  entreats, 
acknowledges,  permits,  dismisses,  intensifies,  and  persuades. 

Note. — Here  introduce  silent  practice  exercises  (that  is,  exercises 
without  words)  of  hand  supine,  in  the  various  arm  realms,  with 
both  direct  and  deflected  arm  movements,  in  different  altitudes 
and  different  directions  from  the  front,  in  the  three  planes  pre- 
viously explained.    Then  follow  with  word  exercises. 

Exercises 

1.  "  Hath  Britain  all  the  sun  that  shines  ?  day,  night, 

Are  they  not  but  in  Britain  V 

2.  "  The  war  is  inevitable^ 


256  ADVANCED   ELOCUTION 

3.  "  From  eastern  rock  to  sunset  wave, 

The  Continent  is  ours.^^ 

4.  "  King  Agrippa,  believest  thou  the  prophets  ?" 

5.  "  Come  forth,  0  ye  children  of  gladness,  come  /" 

6.  "  Be  ready,  gods,  with  all  your  thunderbolts, 

Dash  him  to  pieces  !" 

7.  "  Dreams  are  but  the  children  of  an  idle  hrain^ 

8.  "  0  Living  Will,  that  shalt  endure  .  .  . 

When  all  that  is  shall  suffer  shock. 
Rise  in  the  spiritual  rock. 
Flow  through  our  deeds  and  make  them  pure." 

The  Hand  Prone  (palm  toward  earth)  is  the  controlling 
hand — it  is  protective,  restrictive,  secre- 
tive, mystical ;  hence  its  indications  are 
that  of  guardianship,  benediction,  de- 
pendency, suppression,  cessation,  pro- 
hibition, imprecation,  hopelessness,  concealment,  and  awe. 

Note. — Here  use  silent  practice  exercises,  then  follow  with  word 
exercises. 

Exercises 

1.  "  Noon  descends  around  me  now ;  * 

'Tis  the  noon  of  autumn's  glow." 

2.  "  The  winds,  with  wonder  whist, 

Smoothly  the  waters  kissed.'''' 

3.  "  Peace !  Peace !  you  durst  not  so  have  tempted  him." 

4.  "  The  Prohibition  of  the  rum  traffic  will  prove  a  safe- 
guard to  our  people." 

5.  "  Cease  a  little  while,  0  wind !  Stream,  be  thou  silenf'' 

6.  "  Down,  soothless  insulter,  I  trust  not  the  tale  I" 


VISIBLE   EXPRESSION   OR   GESTURE  257 

7.  "  The  cloud  of  adversity  threw  a  gloom  over  his  pros- 
pects." 

8.  "  Thy  threats  I  scorn;  thy  mercies  I  despise  !" 

Hand  vertical  (pahii  outward,  finger- 
tips upward,)  is  evasive,  repellent,  aver- 
sive ;  its  indications  are  that  of  calamity, 
surprise,  amazement,  fear,  terror,  disdain, 
loathing,  also  that  of  separation,  disper- 
sion, and  disruption. 

Note. — Introduce  here  silent  practice  exercises,  followed  by 
word  exercises. 

Exercises 

1.  ^^Aivay !   I  do  condemn  mine  ears  that  have  so  long 
attended  thee." 

2.  ^^  0  horror,  horror,  horror  !   Tongue  nor  heart  cannot 
conceive  nor  name  thee !" 

3.  '' Fly Jy,  my  lordV' 

4.  "  0,  ruined  piece  of  nature !" 

5.  "  Get  you  hence,  for  I  must  go 

Where  it  fits  you  not  to  know." 

6.  "  Far  from  our  hearts  be  such  inhuman  feelings." 

7.  "  Celestial  light  dispels  the  gloomy  shades  of  night." 

8.  "  Bursts  the  wild  cry  of  terror  and  dismay !" 

The  Index  Finger  may  indicate 
scorn,  contempt,  accusation,  de- 
rision, warning,  threatening  ;  it 
may  be  used  in  discriminating,  and 
forcibly  asserting,  and  in  making 
conspicuous  some  one  object  among 
a  number  or  collection. 
17 


258  ADVANCED   ELOCUTION 

Exercises 

1.  "  Lochiel !  Lochiel !  beware  of  the  day  I" 

2.  "  Now,  infidel,  I  have  thee  on  the  hip." 

3.  "  Beware !    Beware  /" 

4.  ^'  See'st  thou  across  the  sullen  wave, 

A  blood-red  banner,  wildly  streaming  ?" 

5.  "  Thou  little  valiant,  great  in  villainy !" 

6.  "  Note  this  point,  in  particular." 

7.  "  By  this  sun  that  shines,  I'll  thither!" 

Other  equally  strong  and  graphic  meanings  are  ex- 
pressed through  the  agency  of  the  fingers.  Among  them  may 
be  named  various  forms  of  enumeration  and  measurement — 
as  the  apparent  testing  or  detecting  of  granulated  sub- 
stances, between  the  thumb  and  forefinger,  or  a  more  deli- 
cate manipulation  with  the  thumb  and  third  finger,  or 
with  the  thumb  and  little  finger. 

A  continuous  line  of  thought  or  chain  of  reasoning  is 
indicated  by  the  linking  of  the  index  fingers  or  of  the  little 
fingers;  while  touching  their  tips  only  indicates  a  still 
closer  and  more  delicate  union.  Similarity  of  meaning  is 
shown  by  all  the  finger-tips  of  one  hand  touching  those  of 
the  other.  Again,  the  closing  of  the  fingers  upon  the 
palms,  denotes  condensation  or  retention  ;  or 
the  fingers  extended  and  spread  widely  apart, 
signify  exasperation,  when  stiffly  crooked, 
they  evince  retraction  and  rage. 

In  regard  to  the  hand  itself,  its  wave  or 
flourish  is  a  sign  of  victory,  exultation  or 
jubilation ;  clinched,  it  shows  anger,  deter- 
mination, and  defiance  ;  applied — that  is, 
palms  pressed  together,  near  chest — humility, 


VISIBLE   EXPRESSION   OR   GESTURE  259 

self-abasement,  and  prayer ;  folded  (palms 
together  and  fingers  of  one  hand  laid  be- 
tween thumb  and  forefinger  of  the  other), 
veneration,  humility,  and  adoration ;  clasped, 
— that  is,  fingers  of  one  hand 
inserted  between  those  of  the 
other — entreaty,  supplication; 
wrung  (first  clasped  and  elevated,  then  de- 
pressed without  disengaging  the  fingers), 
agony;  rubbing  of  hands,  palm  to  palm, 
eagerness,  joyousness,  gloating. 
Again,  the  hand  may  be  reflexive  in  its  action — that  is, 
placed  upon  some  part  of  the  body,  it  is  expressive  of 
either  mental  or  emotional  excitation — as  for  instance, 
hand  on  chest,  shows  an  appeal  to  conscience,  or  to  one's 
higher  and  better  self ;  or  crossing  of  both  hands  on  chest, 
shows  veneration,  trust ;  hand  on  heart  is  suggestive  of 
sadness,  affliction ;  hand  on  forehead,  or  one  or  both  hands 
on  head,  is  indicative  of  weariness,  confusion,  pain. 

In  addition  to  the  above,  various  forms  of  imitative  or 
mimicking  gestures  may  be  practiced  with  profit,  such  as 
the  drawing  or  sheathing  of  an  imaginary  sword  or  dagger ; 
putting  on  gloves,  or  adjusting  other  parts  of  dress,  etc. 

Note. — In  practicing  the  various  hand  positions  entertain  some 
thought  in  harmony  with  that  which  each  is  said  to  express. 


THE  COUNTENANCE 

"Survey  the  aoul-beaming  countenance  ;  the  thoughtful  brow,  the  penetrat- 
ing eye,  the  spirit-breathing  lips,  the  deep  intelligence  of  the  assembled  features. 
How  they  all  conspiring  speak."— He rdkb. 

Of  all  the  symbols  employed  by  man  to  show  his  inward 
or  outward  impressions,  none  is  so  pre-eminent  as  that  of 
the  face.  It  is  the  "  magic  mirror  "  wherein  the  moods  of 
thought  and  feeling  are  reflected,  with  unerring  faithful- 


260  ADVANCED   ELOCUTION 

ness.  There  is  to  the  eye,  in  a  fine,  expressive  or  speak- 
ing face,  a  harmony  quite  as  enjoyable,  as  is  musical 
harmony  to  the  ear.  A  fine  face  is  not  necessarily  a 
beautiful  one,  but  one  which  shows  a  kind  and  honest 
heart.  An  expressive  face  is  one  in  which  a  lively 
fancy  receives  impressions  from  without  and  within,  and 
transmits  their  effects  to  the  countenance. 

Lavater,  who  so  attentively  studied  all  the  powers  of  the 
face,  makes  this  distinction  in  regard  to  it  which  is  worthy 
the  attention  of  readers  and  speakers. 

"  Physiognomy  is  the  knowledge  of  the  signs  of  the 
powers  and  inclinations  of  men,"  hence  it  treats  of  the 
character  at  rest. 

"  Pathognomy  is  the  knowledge  of  the  signs  of  the 
passions  of  men,"  hence  it  treats  of  the  character  in 
excitation.  Few,  indeed,  read  character  from  the  former 
standpoint,  but  ever}^  one  reads  the  countenance  pathog- 
nomically ;  therefore  how  necessary  an  expressive  counte- 
nance becomes  to  a  speaker  or  reader.  AVhen  he  fails  in 
this  he  presents  either  a  frigid  or  barren  aspect,  accom- 
panied sometimes  by  twitching  of  the  facial  muscles,  and 
although  the  voice  may  instruct,  the  speaker  can  never 
excite  great  interest,  pleasure,  or  enthusiasm.  Again,  it 
not  infrequently  occurs,  that  the  face  appears  distorted,  or 
exaggerated,  or  is  forced  into  a  set  smile ;  or  it  may  be  so 
masked  under  a  covering  of  cosmetics  that  it  cannot 
reveal  a  feeling  if  it  would,  and  the  whole  effect  reminds 
one  of  the  old  lady's  wig,  described  in  one  of  Dickens' 
novels,  "  Such  a  gloomy  deception  that  it  ceases  to  be  one, 
and  takes  nobody  in."  All  unnatural  grimaces,  and  all 
tricks  of  affectation  and  all  artificialities  should  be  stren- 
uously avoided. 

Good  facial  expression  requires  vivid  imagination  and 
promptness  in  response  on  the  part  of  the  facial  muscles. 
In  acquiring  this,  if  the  capability  be  wanting,  as  it  fre- 


VISIBLE   EXPRESSION   OR   GESTURE  261 

quently  is,  the  first  means  to  be  employed  is  relaxing  the 
facial  muscles. 

Relaxing  Exercises  for  the  Face 

1.  Relax  muscles  of  eyelids,  slowly  open  eyes. 

2.  Relax  frontal  muscles,  longitudinally  and  trans- 
versely. 

3.  Relax  orbicular  or  cheek  muscles. 

4.  Relax  lip  muscles. 

5.  Relax  jaw  muscles,  allowing  jaw  to  drop. 

Practice  each  a  number  of  times.  A  gentle  massage  of 
the  various  parts  of  the  face  tends  also  to  muscular  repose 
and  pliability. 

Note. — The  gymnastic  exercises  to  which  the  facial  muscles  are 
sometimes  subjected  by  over-zealous  teachers,  are  no  doubt  harm- 
ful. Their  tendency  is  to  force  the  muscle  into  unnatural  tension, 
causing  the  face  to  assume  a  grotesque  and  even  horrible  aspect. 
A  practice  so  pernicious  should  be  severely  condemned. 

In  this  enumeration  are  not  included  directing  the  eyes, 
the  gentle  expansion  of  the  nostrils,  the  opening  of  the 
mouth,  as  in  a  yawn,  nor  the  distention  of  the  cheeks 
with  air. 

A  second  means  for  securing  an  expressive  countenance 
is  to  allow  some  mood  or  fancy  to  dominate  the  mind, 
setting  the  features  in  accord,  as  though  a  veritable  experi- 
ence were  actually  occurring  at  the  moment,  the  whole 
becoming  a  sort  of  pantomimic  action. 

A  third  means  is  the  practice  exercises  of  short  pas- 
sages of  prose  or  verse,  which  embody  various  sentiments. 
By  conceiving  the  thought  or  feeling  contained  in  them  as 
being  actually  experienced,  the  facial  muscles  will  be 
brought  into  responsive  action. 

The  mental,  moral,  and  vital  States  of  the  Being,  in  all 
their  complexities  and  blendings,  make  themselves  known 


262  ADVANCED   ELOCUTION 

by  the  countenance,  through  the  same  modes  of  motion, 
as  they  do  in  all  the  other  media  of  expression. 

Physiologists  state  that  there  are,  in  the  head,  fifty-five 
muscles  which,  with  their  multiplicity  of  nerves,  control 
the  face.  These  muscles  are  grouped  principally  about 
the  eyes,  nose,  and  mouth ;  forming  thus  three  expressive 
centres.  According  to  Delsarte,  to  the  frontal  region  or 
forehead,  including  the  eyes,  is  ascribed  the  Mental  State 
of  the  Being ;  to  the  nasal  region,  including  the  cheeks,  the 
Moral ;  and  to  the  maxillary  region,  or  lower  part  of  the 
face,  the  Vital.  These  divisions  are  not  arbitrary,  but  each 
is  more  or  less  blended  with  the  other  two,  all  human  ex- 
pression, as  already  stated,  being  more  or  less  complex. 


THE  EYE 

"  The  light  of  the  body  is  the  eye."— Matt,  vi,  22. 

Of  the  three  centres  of  facial  expression,  undoubtedly 
the  strongest  is  the  eye.  It  is  the  first  to  indicate 
activity  or  inactivity  of  mind  and  heart.  Probably  for 
this  reason,  when  estimating  the  character  of  another, 
especially  one  with  whom  we  are  to  have  dealings  of  im- 
portance, we  endeavor  to  read  the  inner  meaning  through 
the  eye,  and  the  lack  of  candor,  if  it  exist,  is  quickly  de- 
tected in  the  averted  or  unsteady  look. 

Pliny,  fittingly  says,  that  it  is  in  the  eyes  we  discover 
moderation,  clemency,  compassion,  love,  hate,  sorrow,  joy ; 
they  burn,  they  strain,  they  shine,  they  twinkle;  from 
them  drops  the  tear  of  repentance,  and  when  we  kiss 
them  we  seem  to  touch  the  very  soul.  The  eyebrows 
contribute  to  give  form  and  expression  to  the  eye,  and 
completely  control  the  forehead,  contracting,  raising,  or 
lowering  it. 


VISIBLE  EXPRESSION  OR   GESTURE  263 

THE  MOUTH 

*•  The  mouth  is  the  vestibule  of  the  soul."— Cresollius. 

Next  to  the  eye,  the  mouth  is  the  most  important  part 
of  the  countenance,  if  visible  expression  alone  is  con- 
sidered. But,  if  to  this  is  added  expression  by  verbal 
utterance,  it  becomes  the  dominating  power. 

A  mouth  indicating  high  character,  is  greatly  to  be  de- 
sired, and  unless  there  is  physical  deformity,  it  is  not  un- 
attainable. Being  interlaced  with  nerve  tissue,  and  withal, 
probably,  the  most  mobile  of  any  of  the  features,  it  is 
the  most  impressionable,  and  is  made  beautiful  by  what- 
ever is  true,  and  noble,  and  good  in  the  heart ;  or  it  is 
rendered  coarse  and  brutal  by  whatever  is  bad.  Every 
evil  habit,  it  has  been  said,  disfigures  the  mouth,  and 
leaves  its  impress  indelibly  stamped  thereon.  The  stain 
of  intemperance  discolors  it,  ill-nature  wrinkles  it,  envy 
deforms  it,  and  voluptuousness  bloats  it.  On  the  contrary, 
it  is  sweetened  by  benevolence,  conformed  by  wisdom, 
chiseled  by  taste,  composed  by  discretion ;  and  these  traces 
once  habitually  fixed,  remain  in  all  their  softness  and 
charm,  through  every  varying  stage  of  life. 


THE    NOSE 

•'  Sharp  jets  of  anger  puffed  her  fairy  nostrils  out." 

The  nose  is  of  more  importance  as  an  agent  of  expres- 
sion, than  a  first  thought  would  indicate.  Situated 
between  the  eyes  and  mouth,  it  harmonizes  with  both 
in  delineating  passion  or  feeling,  showing  their  accordant 
effects  by  the  curl,  dilation,  or  contraction  of  the 
nostrils. 


264  advanced"  elocution 


FACIAL  EXPRESSION 

Certain  phases  of  manifestation,  appertaining  to  facial 
aspects,  such  as  have  a  primary  or  clearly  defined  mean- 
ing, are  here  presented.  They  will  prove  interesting,  not 
only  as  a  study,  but,  in  connection  with  pantomimic 
action  and  the  practice  exercises,  will  be  helpful  in 
securing  muscular  control  and  facial  changes. 

LAUGHTER 

Laughter,  as  far  as  it  relates  to  the  mechanical  process,  is 
produced  by  the  contraction  of  three  sets  of  muscles,  namely, 
the  orbiculars,  surrounding  the  eyes ;  the  large  circular 
muscle  (orbicularis  oris),  forming  the  mouth,  and  cer- 
tain minor  muscles,  running  to  the  upper  lip.  Their  con- 
traction raises  the  eyebrows,  eyelids,  nostrils,  and  angles 
of  the  mouth — the  latter  being  opened  more  or  less  widely, 
the  corners  drawn  backward  and  the  upper  lip  upward. 
Thus  a  shortened  appearance  is  given  to  the  nose,  wrinkles 
are  produced  below  the  lower  eyelids,  or  in  older  persons 
at  the  outer  edges;  the  cheeks  are  puffed  outward,  causing 
the  eyes  to  appear  smaller,  which,  with  the  hilarious  effect 
of  laughing,  renders  them  vivacious  and  sparkling.  A 
smile  is  the  first  stage  in  the  development  of  a  laugh,  and 
its  varying  phases  may  be  classified  under  cheerfulness, 
affection,  courtesy,  gayety,  happiness,  joy,  delight,  rapture, 
and  ecstasy  and  each  of  these  has  it  varieties  or  modifica- 
tions. 

Exercises 

Cheerfulness 

"  Now,  my  co-mates  and  brothers  in  exile. 
Hath  not  old  custom  made  this  life  more  sweet 
Than  that  of  painted  pomp  ?    Are  not  these  woods 
More  free  from  peril  than  the  envious  court  ? 


VISIBLE   EXPRESSION   OR   GESTURE  265 

Here  feel  we  not  the  penalty  of  Adam. 
The  seasons'  difference — as  the  icy  fang 
And  churlish  chiding  of  the  winter's  wind, 
Which,  when  it  bites  and  blows  upon  my  body, 
Even  till  I  shrink  with  cold,  I  smile  and  say 
This  is  no  flattery — these  are  counsellors 
That  feelingly  persuade  me  what  I  am." 

From  "^s  You  Like  It " — Shakespeare, 

Gayety 

"  With  many  a  curve  my  banks  I  fret, 
By  many  a  field  and  fallow. 
And  many  a  fairy  foreland  set 
With  willow-weed  and  mallow. 

"  I  chatter,  chatter,  as  I  flow 
To  join  the  brimming  river, 
For  men  may  come  and  men  may  go, 
But  I  go  on  forever." 

From  ^^The  Brook  " — Tennyson, 

Mirth 

"  Well  then,  take  my  life. 
And  nail  me  like  a  weasel  on  a  grange 
For  warning ;  bury  me  beside  the  gate. 
And  cut  this  epitaph  above  my  bones : 
*  Here  lies  a  brother  by  a  sister  slain. 
All  for  the  common  good  of  womankind.' " 

From  ^^The  Princess  " — Tennyson, 

Joy 

"  I  come !  I  come !  ye  have  called  me  long — 
I  come  o'er  the  mountains  with  light  and  song ! 
Ye  may  trace  my  step  o'er  the  wakening  earth, 
By  the  winds  which  tell  of  the  violet's  birth, 
By  the  primrose-stars  in  the  shadowy  grass, 
By  the  green  leaves  opening  as  I  pass." 

From  ''  Voice  of  Spring  " — Mrs.  Hemans, 


266  ADVANCED   ELOCUTION 

Rapture — Spiritual 

"  The  world  recedes !  it  disappears ! 
Heaven  opens  on  my  eyes  !  my  ears 

With  sounds  seraphic  ring ! 
Lend,  lend  your  wings  !     I  mount !     I  fly  I 
0  Grave !  where  is  thy  victory  ? 

O  Death  !  where  is  thy  sting  ?" 
From  "  The  Dying  Christian  to  his  SouV — Pope. 


SORROW,  GRIEF 

As  joyous  feelings  cause  an  increased  circulation  of  the 
blood,  and  tend  to  brighten  the  eye,  so  sad  feelings  tend 
to  retard  the  circulation  and  diminish  the  lustre  of  the 
eye.  These  in  turn  produce  their  accordant  effects  upon 
the  features,  as  well  as  through  the  whole  body.  In  sor- 
row or  depression  the  inner  ends  of  the  eyebrows  are  raised, 
and  in  the  more  extreme  states  of  feeling  there  is  contrac- 
tion of  the  frontal  muscles,  causing  transverse  wrinkles 
across  the  forehead.  The  corrugating  muscles  contracting 
simultaneously  with  the  frontal,  bring  the  eyebrows  near 
together,  producing  a  mark  in  the  forehead  not  unlike  a 
horse-shoe.  The  corners  of  the  mouth,  at  the  same  time, 
are  more  or  less  depressed,  causing  the  cheek  muscles  to 
relax,  giving  to  the  face  an  elongated  and  hollow  appear- 
ance. Under  sorrow  may  be  included  all  the  lights  and 
shades  of  feeling  pertaining  thereto,  as  seriousness,  solem- 
nity, melancholy,  regret,  sadness,  grief,  despair,  etc. 

Exercises 

Seriousness 

"  In  the  room 
Of  this  grief -shad  owed  present  there  shall  be 
A  Present  in  whose  reign  no  grief  shall  gnaw 
The  heart,  and  never  shall  a  tender  tie 


VISIBLE  EXPRESSION  OR  GESTURE  267 

Be  broken — in  whose  reign  the  eternal  Change 
That  waits  on  growth  and  action  shall  proceed 
With  everlasting  Concord  hand  in  hand." 

From  ^^The  Flood  of  Years  ^^ — Bryant. 


Solemnity 

"  The  golden  ripple  on  the  wall  came  back  again,  and 
nothing  else  stirred  in  the  room.  The  old,  old  fashion  ! 
The  fashion  that  came  in  with  our  first  garments,  and  will 
last  unchanged  until  our  race  has  run  its  course,  and  the 
wide  firmament  is  rolled  up  like  a  scroll.  The  old,  old 
fashion — Death.  O,  thank  God,  all  who  see  it,  for  that 
older  fashion  yet,  of  Immortality !  And  look  upon  us, 
angels  of  young  children,  with  regards  not  quite  estranged, 
when  the  swift  river  bears  us  to  the  ocean." 

From  "  Domhey  and  Son  " — Dickens. 

Sadness 

"  Little  Nell  was  dead.  No  sleep  so  beautiful  and  calm, 
so  free  from  trace  of  pain,  so  fair  to  look  upon.  She 
seemed  a  creature  fresh  from  the  hand  of  God,  and  wait- 
ing for  the  breath  of  life ;  not  one  who  had  lived  and 
suffered  death." 

From  ^^Old  Curiosity  Shop  " — Dickens. 


Grief 

"  Grief  fills  the  room  up  of  my  absent  child, 
Lies  in  his  bed,  walks  up  and  down  with  me ; 
Puts  on  his  pretty  looks,  repeats  his  words, 
Remembers  me  of  all  his  gracious  parts, 
Stuffs  out  his  vacant  garments  with  his  form ; 


O,  my  boy,  my  Arthur,  my  fair  son  I 

My  life,  my  joy,  my  food,  my  all  the  world! 

My  widow-comfort,  and  my  sorrow's  cure." 

From  ^^King  John  " — Shakespeare. 


268  ADVANCED  ELOCUTION 


ANGER 

Anger  is  an  intense  form  of  feeling.  By  it  the  circulation 
of  the  blood  is  more  or  less  disturbed,  the  face,  sometimes, 
as  in  rage  or  fury,  becoming  alternately  purple  and  livid, 
wliile  the  veins  on  the  forehead  and  neck  are  distended. 
In  this  excited  state  the  eyes  burn  or  glare,  the  corru- 
gating muscles  lower  the  brows,  bringing  them  near  to- 
gether ;  the  lower  jaw  is  firmly  set  to  the  upper  one ;  the 
nostrils  are  dilated,  and  lips  closed,  except  in  extreme 
cases,  where  the  teeth  are  uncovered.  Under  anger  may 
be  hicluded  all  the  lights  and  shades  of  feeling  from  earn- 
estness, determination,  indignation,  to  hatred,  rage,  and 
fury. 

Exercises 

Earnest  Resolve 

"  On  such  occasions,  I  will  place  myself  on  the  extreme 
boundary  of  my  right,  and  bid  defiance  to  the  arm  that 
would  push  me  from  it. " 

From  ^^ Freedom  of  Debate  " —  Webster, 

Indignation 

"A  word,  but  one,  one  little,  kindly  word, 
Not  one  to  spare  her ;  out  upon  you  flint  I 
You  love  nor  her,  nor  me,  nor  any ;  nay, 
You  shame  your  mother's  judgment,  too.    Not  one? 
You  will  not?    Well — no  heart  have  you !" 

From  "  The  Princess  " — Tennyson. 


Anger 

"  Read  o'er  this : 
And  after,  this !     And  then  to  breakfast — with 
What  appetite  you  have !" 

From  "  Henry  VIII  ^^ — Shakespeare, 


VISIBLE    EXPRESSION   OR    GESTURE  269 


Hatred 

"  Poisons,  be  their  drink 
Gall — worse  than  gall,  the  daintiest  meat  they  taste ; 
Their  sweetest  shade,  a  grove  of  cypress  trees  ; 
Their  sweetest  prospects,  murd'ring  basilisks  ! 
Their  music — friglitful  as  the  serpent's  hiss. 
And  boding  screech  owls  make  the  concert  full, 
All  the  foul  terrors  of  dark-seated  hell !" 

Frqm  ^^  Henry  VI  ^^ — Shakespeare. 


Rage 

"  I  trample  on  your  offers,  and  on  you ; 
Begone  I  we  will  not  look  upon  you  more !" 

From  "  The  Princess  ^^ — Tennyson. 


SCORN 

Closely  allied  to  anger  is  scorn  and  its  associated  feelings 
of  disdain,  contempt,  defiance,  derision,  and  disgust.  In 
these  emotions,  however,  there  is  often  a  partial  closure  of 
the  eyelids,  the  nose  is  more  or  less  elcA^ated,  the  nostrils 
partly  closed,  the  canine  tooth  on  one  side  of  the  face, 
wholly  or  partly  uncovered,  the  contraction  of  the  muscle 
on  that  side  of  the  face  usually  making  a  furrow  in  the 
cheek,  and  wrinkles  under  the  eye ;  in  disgust,  the  upper 
lip  is  strongly  raised. 

Exercises 

Contempt 

"  Thou  slave !  thou  wretch !  thou  coward ! 
Thou  little  valiant,  great  in  villainy ! 
Thou  ever  strong  upon  the  stronger  side !" 

From  "  King  John  " — Shakespeare. 


270  ADVANCED  ELOCUTION 


Disdain 


"  You  have  done  well  and  like  a  gentleman, 
And  like  a  prince ;  you  have  our  thanks  for  all ; 
And  you  look  well,  too,  in  your  woman's  dress ; 
Well  have  you  done,  and  like  a  gentleman." 

From  "  The  Princess  " — Tennyson, 


Derision 


*'  So,  fare  you  well,  my  little,^  good  lord  cardinal." 

From  ''''Henry  VIII ^^ — Shakespeare. 


SURPRISE 

In  surprise,  the  eyebrows  are  raised,  and  eyes  and 
mouth  sometimes  widely  open.  Modifications  of  surprise, 
or  its  attendant  lights  and  shades,  are  found  in  attention, 
interest,  wonder,  astonishment,  amazement,  terror,  and 
horror ;  in  the  latter  cases,  there  is  strong  dilation  of 
nostrils,  and  eyes  seeming  to  start  from  their  sockets. 

Exercises 

Attention— Listening 

"  Hush  !  hark !     Did  stealing  steps  go  by, 
Came  not  faint  whispers  near  ?" 

Anon. 
Amazement 

"As  sure  as  there's  breath  in  man,  it's  auld  Ellangowan 
risen  from  the  dead  I" 

From  "  Guy  Mannering  " — Scott. 

Terror 

"And  now,  from  forth  the  frowning  sky, 
From  the  Heaven's  topmost  height,        ^ 
I  heard  a  voice,— the  awful  voice 
Of  the  blood  avenging  Sprite !" 

From  "  Dream  of  Eugene  Aram  " — Hood. 


VISIBLE   EXPRESSION   OR   GESTURE  271 

Any  of  the  facial  conditions  already  named  may  be 
manifested  in  their  separateness,  or  may  be  blended  with 
others ;  as  there  is  complexity  of  feeling,  so  will  there  be 
complexity  in  manifestation.  Darwin  fittingly  remarks : 
"  Many  complex  conditions  emanate  from  the  passions, 
which  will  not  admit  of  description,  and  in  regard  to  the 
feelings  of  jealousy,  envy,  avarice,  revenge,  suspicion,  deceit, 
slyness,  guilt,  vanity,  ambition,  pride,  and  humility,  it  is 
doubtful  if  the  conditions  of  mind  are  revealed  with  any 
fixed  expression,  to  be  described  or  delineated,  but  many 
of  them  can  be  detected  by  the  eye." 

Miscellaneous  Practice  Exercises  for  Attitude,  Gesture,  and 
Facial  Expression. 


"  Never  stoops  the  soaring  vulture 
On  his  quarry  in  the  desert, 
On  the  sick  or  wounded  bison, 
But  another  vulture,  watching 
From  his  high  aerial  look-out, 
Sees  the  downward  plunge,  and  follows ; 
And  a  third  pursues  the  second. 
Coming  from  the  invisible  ether, 
First  a  speck,  and  then  a  vulture, 
Till  the  air  is  dark  with  pinions. 
So  disasters  come  not  singly ; 
But  as  if  they  watched  and  waited. 
Scanning  one  another's  motions, 
When  the  first  descends,  the  others 
Follow,  follow,  gathering  flock-wise 
Round  their  victim,  sick  and  wounded. 
First  a  shadow,  then  a  sorrow. 
Till  the  air  is  dark  with  anguish." 

From  "  Hiawatha  " — Longfellow, 

II 

"  If  we  work  upon  marble,  it  will  perish ;  if  we  work 
upon  brass,  time  will  efface  it ;  if  we  rear  temples,  they 


272  ADVANCED   ELOCUTION 

will  crumble  into  dust ;  but  if  we  work  upon  immortal 
minds,  if  we  imbue  them  with  right  principles,  with  the 
just  fear  of  God  and  love  of  our  fellow-men,  we  engrave 
on  those  tablets  something  which  will  brighten  to  all 
eternity." — Daniel  Webster. 

Ill 

"  The  winds,  as  at  their  hour  of  birth 
Leaning  upon  the  winged  sea. 
Breathed  low  around  the  rolling  earth 

With  mellow  preludes,  '  We  are  free.' 
The  streams  through  many  a  lilied  row 

Down  carolling  to  the  crisped  sea, 
Low-tinkled  with  a  bell-like  flow 
Atween  the  blossoms,  '  We  are  free. '  " 

From  "  We  Are  Free  " — Tennyson. 

IV 
"  Like  unto  ships  far  off  at  sea 
Outward  or  homeward  bound  are  we, 
Before,  behind,  and  all  around 
Floats  and  swings  the  horizon's  bound, 
Seems  at  its  distant  rim  to  rise 
And  climb  the  crystal  wall  of  the  skies, 
And  then  again  to  turn  and  sink 
As  if  we  could  slide  from  its  outward  brink. 
Ah !  it  is  not  the  sea 
It  is  not  the  sea  that  sinks  and  shelves, 
But  ourselves 
That  rock  and  rise 
With  endless  and  uneasy  motion, 
Now  touching  the  very  skies. 
Now  sinking  into  the  depth  of  ocean. 
Ah !  if  our  souls  but  poise  and  swing 
Like  the  compass  in  its  brazen  ring, 
Ever  level  and  ever  true 
To  the  toil  and  the  task  we  have  to  do, 
We  shall  sail  securely,  and  safely  reach 
The  Fortunate  Isles,  on  whose  shining  beach 
The  sights  we  see  and  the  sounds  we  hear. 
Will  be  those  of  joy  and  not  of  fear." 

From  ^^Launching  of  the  Ship  " — Longfellow 


VISIBLE   EXPRESSION   OR   GESTURE  273 


"  There  came  a  stirring  of  wind  from  the  east,  and  the  sea 
began  to  moan  ;  and  then  there  was  a  strange  noise  in  the 
distance ;  in  the  awful  silence  between  the  peals  of  thunder 
it  would  be  heard.  It  came  nearer  and  nearer — a  low 
murmuring  noise,  but  full  of  secret  life  and  thrill — it 
came  along  like  the  tread  of  a  thousand  armies  and  then 
the  gale  struck  its  first  blow !  .  .  .  Blinding  showers  of 
rain  swept  over,  hissing  and  roaring !  The  white  tongues 
of  flame  were  shooting  this  way  and  that  across  the 
startled  heavens !  and  there  was  a  more  awful  thunder 
than  even  the  falling  of  the  Atlantic  surge  booming  into 
the  great  sea-caves.  In  the  abysmal  darkness  the  spectral 
arms  of  the  ocean  rose  while  in  their  angry  clamor; 
and  then  another  blue  gleam  would  lay  bare  the  great 
heaving  and  writhing  bosom  of  the  deep.  Surely  it 
cannot  be  Ulva — Ulva  the  green-shored  island,  that  is 
laughing  aloud  with  wild  laughter,  on  this  awful  night  ? 
And  Colonsay,  and  Lunga,  and  Fladda — they  were  beau- 
tiful and  quiet  in  the  still  summer-time  ;  but  now  they 
have  gone  mad,  and  they  are  flinging  back  the  plunging 
sea  in  white  masses  of  foam  ;  and  they  are  shrieking  in  the 
fierce  joy  of  the  strife.  And  Staff  a — Staffa  is  far  away 
and  alone :  she  is  trembling  to  her  core ;  how  long  will  the 
shuddering  caves  withstand  the  mighty  hammer  of  the 
Atlantic  surge  ?  And  then  again  the  sudden  wild  gleam 
startles  the  night  and  one  sees  with  an  appalling  vivid- 
ness, the  driven  white  waves  and  the  black  islands ;  and 
then  again  a  thousand  echoes  go  booming  along  the  iron- 
bound  coast!" — Frovi  ^'MacLeod  of  Dare  ^^ — Wm.  Black. 

VI 

"  Flag  of  the  free  heart's  hope  and  home ! 
By  angel  hands  to  valor  given  ; 

Thy  stars  have  lit  the  welkin  dome, 
And  all  thy  hues  were  born  in  heaven. 
Forever  float  that  standard  sheet ! 
Where  breathes  the  foe,  but  falls  before  us, 
With  Freedom's  soil  beneath  our  feet. 
And  Freedom's  banner  streaming  o'er  us." 

From  ''  Tfie  American  Flag  " — Drake. 
18 


274  ADVANCED   ELOCUTION 


VII 

"  Rum,  we  yield  not  to  thy  unhallowed  influence,  and 
together  we  have  met  to  plan  thy  destruction.  And  by 
what  new  name  shall  we  call  thee,  and  to  what  shall  we 
liken  thee,  when  we  speak  of  thy  attributes  ?  Others  may 
call  thee  the  child  of  perdition,  the  base-born  progeny  of 
sin  and  Satan,  the  murderer  of  mankind,  and  the  de- 
stroyer of  immortal  souls  ;  but  I  will  give  thee  a  new  name 
among  men,  and  crown  thee  with  a  new  horror,  and  that 
new  name  shall  be  the  sacramental  cup  of  the  Rum-Power, 
and  I  will  say  to  all  the  sons  and  daughters  of  earth — 
Dash  it  down !  And,  thou.  Rum,  shalt  be  my  text  in  my 
pilgrimage  among  men ;  and  not  alone  shall  my  tongue 
utter  it,  but  the  groans  of  orphans  in  their  agony,  and  the 
cries  of  widows  in  their  desolation  shall  proclaim  it  the 
enemy  of  home,  the  traducer  of  childhood,  and  the  de- 
stroyer of  manhood,  and  whose  only  antidote  is  the  sacra- 
mental cup  of  temperance — Cold  Water !" 

From  "  Water  and  Rum  " — Gough. 


VIII 

"  It  is  the  dead  of  night ; 
Yet  more  than  noon-day  light 

Beams  far  and  wide  from  many  a  gorgeous  hall. 
Unnumbered  harps  are  tinkling. 
Unnumbered  lamps  are  twinkling. 

In  the  great  city  of  the  fourfold  wall, 
By  the  brazen  castle's  moat. 
The  sentry  hums  a  livelier  note. 
The  ship-boy  chants  a  shriller  lay 
From  the  galleys  in  the  bay. 
Shout,  and  laugh,  and  hurrying  feet 
Sound  from  mart,  and  square,  and  street, 
From  the  breezy  laurel  shades, 
From  the  granite  colonnades. 
From  the  golden  statua's  base, 
From  the  stately  market-place. 
Where  upreared  by  captive  hands. 
The  great  Tower  of  Triumph  stands, 


VISIBLE   EXPRESSION   OR   GESTURE  275 

All  its  pillars  in  a  blaze, 
With  the  many  colored  rays, 
Which  lanterns  of  ten  thousand  dyes, 
Shed  on  ten  thousand  panoplies." 
From  "  The  Marriage  of  Tirzah  and  Ahirad  " — Macaulay. 


IX 

*^  'Tis  the  middle  of  the  night  by  the  castle  clock, 
And  the  owls  have  awakened  the  crowing  cock ; 

Tu-whit!     Tu-whoo! 
And  hark,  again  !  the  crowing  cock, 

How  drowsily  it  crew. 

"  The  night  is  chilly,  but  not  dark ; 
The  thin  gray  cloud  is  spread  on  high. 
It  covers,  but  not  hides  the  sky. 
The  moon  is  behind,  and  at  the  full ; 
And  yet  she  looks  both  small  and  dull. 
The  night  is  chill,  the  cloud  is  gray ; 
'Tis  a  month  before  the  month  of  May, 
And  the  spring  comes  slowly  up  this  way, 

"  The  lovely  lady,  Christabel, 
Whom  her  father  loves  so  well, 
What  makes  her  in  the  wood  so  late, 
A  furlong  from  the  castle  gate  ? 
She  had  dreams  all  yesternight 
Of  her  own  betrothed  knight ; 
And  she  in  the  midnight  wood  will  pray, 
For  the  weal  of  her  lover,  that's  far  away. 

"  She  stole  along,  she  nothing  spoke, 
The  sighs  she  heaved  were  soft  and  low, 
And  naught  was  green  upon  the  oak. 
But  moss  and  rarest  mistletoe ; 
She  kneels  beneath  the  huge  oak  tree, 
And  in  silence  prayeth  she. 
The  lady  sprang  up  suddenly. 
The  lovely  lady,  Christabel ! 


276  ADVANCED   ELOCUTION 

"  It  moaned  as  near  as  near  could  be, 
But  what  it  is  she  cannot  tell, — 
On  the  other  side  it  seems  to  be, 
Of  the  huge,  broad-breasted,  old  oak  tree. 

"  The  night  is  chill,  the  forest  bare  ; 
Is  it  the  wind  that  moaneth  bleak? 
There  is  not  wind  enough  in  the  air 
To  move  away  the  ringlet  curl 
From  the  lovely  lady's  cheek ; 
There  is  not  wind  enough  to  twirl 
The  one  red  leaf,  the  last  of  its  clan 
That  dances  as  often  as  dance  it  can. 
Hanging  so  light,  and  hanging  so  high 
On  the  topmost  twig  that  looks  up  at  the  sky." 

From  ^^  ChristaheV^ — S.  1\  Coleridge, 


SUMMARY 

"  Elocution,  in  order  to  be  perfect,  must  convey  the  meaning  clearly,  forcibly, 
and  agreeably."— Whately. 

Nature,  as  respects  Voice  and  Action,  having  been 
guided  by  careful  cultivation,  with  the  help  of  mechan- 
ical processes  and  exercises  expressive  of  sentiment,  the 
reader  or  speaker  is  prepared  to  convey  to  others,  truth- 
fully and  artistically,  what  he  himself  understands,  feels, 
and  desires;  for  the  agents  of  Expression  are  now  sup- 
posed to  act  reciprocally  with  Intellect,  Sensibility,  and 
Will.  How  exceedingly  important  then  it  becomes  that 
he  who  would  please  and  persuade  others  should  have  his 
mind  well-furnished  and  well-balanced,  and  have  his 
heart  and  purpose  intent  only  on  what  is  true,  and  beauti- 
ful, and  good.  Otherwise  how  utterly  trivial  are  all  the 
grace  and  effectiveness  of  elocution.  To  impress  the 
theme,  whatever  it  may  be,  clearly,  forcibly,  and  vividly, 
there  must  be  both  mental  concept  and  penetration — 
wings  must  be  given  the  imagination,  the  heart  must  be 


VISIBLE   EXPRESSION   OR   GESTURE  277 

warmed,  and  glow,  and  sympathize,  and  all  must  be 
dominated  by  a  refined  taste  and  a  true  artistic  instinct. 
The. orator  should  exercise  judgment  in  the  choice  of  his 
theme,  and  the  reader  in  the  choice  of  his  selection.  In 
regard  to  the  latter  too  much  cannot  be  said  in  condem- 
nation of  a  style  of  literature  which  is  too  frequently 
foisted  upon  public  audiences,  while,  on  the  other  hand, 
every  effort  should  be  made  to  cultivate  a  taste  for  chaste 
and  elegant  English.  What  is  more  pleasing  and  instruct- 
ive than  graceful,  ingenious,  illuminative  rendering  of 
choice  literature  ?  Finally,  add  to  knowledge  and  culti- 
vation of  body,  mind,  and  soul,  the  power  of  repose, 
which  is  the  emblem  of  self-control;  these  conditions 
complied  with,  there  stands  forth  the  artist  to  please,  per- 
suade, convince,  and  delight. 


278  ADVANCED  ELOCUTION 

ELOCUTIONARY   APOTHEGMS    AND    OUTLINES 
J.  W.  SHOEMAKER 

"  When  the  man  is  made  the  orator  is  almost  com- 
plete. Language  and  voice  are  the  easier  attainments. 
Covet,  therefore,  above  all  things  a  full,  rounded  man- 
hood." 

"  Expression  must  be  an  echo  of  the  state  of  the  mind, 
and  the  mind  is  never  twice  in  exactly  the  same  state, 
therefore  the  expression  cannot  be  true  and  be  twice 
alike." 

"  The  body  in  itself  is  worthless,  and  it  is  only  the 
Divinity  within  us  which  gives  it  significance.  We  are 
like  the  cipher,  a  form,  but  without  value  of  ourselves,  and 
our  value  is  determined  by  the  Divine  Power  or  the  God 
value  back  of  us.  The  cipher  thus  becomes  the  expres- 
sion of  a  value  and  that  value  is  in  proportion  to  the 
amount  or  power  of  Divinity  back  of  it." 

"  Natural  expression  may  be  divided  into  reflected 
thought,  articulated  thought,  and  acted  thought.  A  thought 
revealed  or  manifested  through  the  countenance  is  reflected 
thought ;  through  speech,  articulated  thought ;  and  through 
movement,  acted  thought ;  and  in  any  of  these  cases  the 
process  is  but  the  means  and  not  the  end.  The  coun- 
tenance must  be  so  transparent  that  the  thought  will  be 
seen  and  not  the  countenance ;  the  voice  so  transparent 
that  the  thought  will  be  seen  and  not  the  voice ;  and 
the  action  so  transparent  that  the  thought  will  be  seen 
and  not  the  action,  all  like  the  fluid  in  a  vessel  of  pure 
glass,  where  the  vessel  is  not  seen  but  only  the  fluid 
in  it." 


ELOCUTIONARY   APOTHEGMS   AND   OUTLINES  279 

"  There  is  a  truthful  simplicity  in  childhood,  to  which 
few  ever  return.  True  art  is  the  pathway  to  a  second 
childhood  which  is  much  to  be  desired." 

"  Individuality — You  can  say  what  nobody  else  can  say. 
You  can  do  what  nobody  else  can  do  as  yourself.  You  can 
never  do  what  he  does  whom  you  would  imitate." 

"  Avoid  invidious  comparisons  in  criticism ;  also  ostenta- 
tious display  of  knowledge  on  the  one  hand  and  obse- 
quious humility  on  the  other." 

"  The  brain  is  dependent  upon  the  body  for  its  supplies, 
therefore  the  neglect  of  body  culture  is  the  neglect  of  mind 
culture.  This  is  true  in  the  twofold  sense  of  power  and 
grace.  The  natural  increase  of  bodily  power,  and  the  in- 
crease of  polish  and  grace  of  body  will  give  corresponding 
refinement  and  polish  to  mental  action." 

"  In  reading  and  speaking  let  the  separate  thought  be 
well  defined  ;  let  it  be  expressed  with  full  meaning  and 
due  proportion." 

"  Two  important  elements  are  especially  essential  to  the 
teacher  of  elocution, — adaptation  and  inspiration.  The 
first  brings  the  student  into  harmony  and  sympathy ; 
the  second,  infuses  motive  to  thought,  and  stimulates 
action." 

"The  teacher  should  never  forget  that  it  is  easier  to 
criticise  than  to  correct  faults.  Rather  correct  one  fault 
than  criticise  a  dozen.  Profuse  criticism  will  discourage 
and  confuse." 

"  The  teacher  is  an  assistant,  a  helper,  a  friend,  whose 
business  it  is  to  make  the  student  happier  for  what  he 
gives  him." 


280  ADVANCED   ELOCUTION 

"  High  attainments  are  preceded  by  high  ideals,  but  they 
are  reached  by  humble  processes.  If  our  aim  is  a  high 
expression,  we  must  seek  a  high  manhood  to  be  expressed. 
It  requires  a  mountain  to  express  a  mountain,  a  character 
to  express  a  character,  but  a  high  manhood  must  be  pre- 
ceded by  a  higher  ideal.  There  is  only  one  worthy  our 
copy  and  emulation,  the  Son  of  Man,  the  Son  of  God." 


Luther'' s  Rule  for  Speaking 

"  Rise  up  cheerily ; 
Speak  up  bravely ; 
Leave  off  quickly." 


Lyman  Beecher^s  Rule 

"  Begin  low, 
Go  slow ; 
Rise  higher: 
Take  fire  P 


SELECTIONS  FOR 

READING  AND  RECITATION 


SELECTIONS 


A  MAN  OVERBOARD. 

(From  Les  Miserables.) 

A  MAN  overboard ! 
What  matters  it  ?  the  ship  does  not  stop.    The  wind 
is  blowing;   that  dark  ship  must  keep  on  her  destined 
course.     She  passes  away. 

The  man  disappears,  then  reappears  ;  he  plunges  and 
rises  again  to  the  surface ;  he  calls,  he  stretches  out  his 
hands.  They  hear  him  not ;  the  ship,  staggering  under 
the  gale,  is  straining  every  rope ;  the  sailors  and  passen- 
gers see  the  drowning  man  no  longer ;  his  miserable  head 
is  but  a  point  in  the  vastness  of  the  billows. 

He  hurls  cries  of  despair  into  the  depths.  What  a  spectre 
is  that  disappearing  sail !  He  looks  upon  it ;  he  looks  upon 
it  with  frenzy.  It  moves  away ;  it  grows  dim ;  it  dimin- 
ishes. He  was  there  but  just  now ;  he  was  one  of  the 
crew ;  he  went  and  came  upon  the  deck  with  the  rest ;  he 
had  his  share  of  the  air  and  of  the  sunlight ;  he  was  a 
living  man.  Now,  what  has  become  of  him  ?  He  slipped^ 
he  fell ;  and  it  is  finished. 

He  is  in  the  monstrous  deep.  He  has  nothing  under  his 
feet  but  the  yielding,  fleeing  element.  The  waves,  torn 
and  scattered  by  the  wind,  close  round  him  hideously ; 
the  rolling  of  the  abyss  bears  him  along ;  shreds  of  water 
are  flying  about  his  head ;  a  populace  of  waves  spit  upon 
him  ;  confused  openings  half  swallow  him ;  when  he  sinks 
he  catches  glimpses  of  yawning  precipices  full  of  darkness ; 
fearful  unknown  vegetations  seize  upon  him,  bind  his  feet, 
and  draw  him  to  themselves ;  he  feels  that  he  is  becoming 

283 


284  ADVANCED   ELOCUTION 

the  great  deep ;  he  makes  part  of  the  foam ;  the  billows 
toss  him  from  one  to  the  other ;  he  tastes  the  bitterness ; 
the  greedy  ocean  is  eager  to  devour  him  ;  the  monster  plays 
with  his  agony.  It  seems  as  if  all  this  were  liquid  hate. 
But  yet  he  struggles. 

He  tries  to  defend  himself;  he  tries  to  sustain  himself; 
he  struggles ;  he  swims.  He — that  poor  strength  that  fails 
so  soon — he  combats  the  unfailing. 

Where  now  is  the  ship?  Far  away  yonder.  Hardl}^ 
visible  in  the  pallid  gloom  of  the  horizon. 

The  wind  blows  in  gusts ;  the  billows  overwhelm  him. 
He  raises  his  eyes,  but  sees  only  the  livid  clouds.  He,  in 
his  dying  agony,  makes  part  of  this  immense  insanity  of 
the  sea.  He  is  tortured  to  his  death  by  its  immeasurable 
madness.  He  hears  sounds  which  are  strange  to  man, 
sounds  which  seem  to  come  not  from  earth,  but  from  some 
frightful  realm  beyond. 

There  are  birds  in  the  clouds  even  as  there  are  angels 
above  human  distresses,  but  what  can  they  do  for  him  ? 
They  fly,  sing,  and  float,  while  he  is  gasping. 

He  feels  that  he  is  buried  at  once  by  those  two  infini- 
ties, the  ocean  and  the  sky ;  the  one  is  a  tomb,  the  other 
a  pall. 

Night  descends.  He  has  been  swimming  for  hours ;  his 
strength  is  almost  exhausted.  That  ship,  that  far-off  thing, 
where  there  were  men,  is  gone.  He  is  alone  in  the  terrible 
gloom  of  the  abyss ;  he  sinks,  he  strains,  he  struggles  ;  he 
feels  beneath  him  the  shadowy  monsters  of  the  unseen ; 
he  shouts. 

Men  are  no  more.  Where  is  God  ?  He  shouts.  Help  ! 
help !  He  shouts  incessantly.  Nothing  in  the  horizon. 
Nothing  in  the  sky.  He  implores  the  blue  vault,  the 
waves,  the  rocks  ;  all  are  deaf.  He  supplicates  the 
tempest ;  the  imperturbable  tempest  obeys  only  the 
Infinite. 


QUEEN  ARJAMAND's  DAGGER  285 

Around  him  are  darkness,  storm,  solitude,  wild  and 
unconscious  tumult,  the  ceaseless  tumbling  of  the  fierce 
waters ;  within  him,  horror  and  exhaustion  ;  beneath 
him,  the  engulfing  abyss.  No  resting-place.  He  thinks 
of  the  shadowy  adventures  of  his  lifeless  body  in  the 
limitless  gloom.  The  biting  cold  paralyzes  him.  His 
hands  clutch  spasmodically  and  grasp  at  nothing.  Winds, 
clouds,  whirlwinds,  blasts,  stars,  all  useless !  What  shall 
he  do  ?  He  yields  to  despair ;  worn  out,  he  seeks  death  ; 
he  no  longer  resists ;  he  gives  himself  up ;  he  abandons 
the  contest,  and  he  is  rolled  away  into  the  dismal  deptlis 
of  the  abyss  forever. 

0  implacable  march  of  human  society  !  Destruction  of 
men  and  of  souls  marking  its  path  !  Ocean,  where  fall  all 
that  the  law  lets  fall  ?  Ominous  disappearance  of  aid !  0 
moral  death ! 

The  sea  is  the  inexorable  night  into  which  the  penal 
law  casts  its  victims.  The  sea  is  the  measureless  misery. 
The  soul  drifting  in  that  sea  may  become  a  corpse.  Who 
shall  restore  it  to  life  ?  Victor  Hugo. 


QUEEN  ARJAMAND^S  DAGGER. 

(Abridged  and  adapted  from  "With  Sa'di  in  tlie  Garden.") 

THEY  tell  this  story  of  Queen  Arjamand : 
So  fair  she  was,  so  debonnair,  so  wise, 
The  heart  of  Shah  Jahan  slept  in  her  lap : 
Her  mouth  issued  the  King's  decrees,  her  hands 
Gave  provinces  away,  and  great  commands. 
No  night  but  at  her  feet  did  Shah  Jahan 
Lay  down  his  cap  of  lordship  and  his  sword 
To  take  soft  counsel  from  her  faithful  lips. 
Which  many  grudged,  and  most  those  other  ones 
The  Afghan  Lady — she  that  hath  her  grave 


286  ADVANCED   ELOCUTION 

In  the  Kandhari  Bagh — and  Zan-i-Noor, 

Grandchild  of  Abdurrahim,  Prince  of  the  Blood  : 

"  If  we  could  turn  His  Majesty,"  said  these, 

"  From  Mumtaz,  that  were  well  wrought  for  the  State, 

Whose  banner  is  become  a  Persian  shift ! 

Mashallah !  will  nought  dull  those  dazzling  eyes  ?" 

And  some  one  whispered :  "  Best  find  newer  eyes 

More  dazzling,  killing  passion  with  its  like  ; 

Since  one  love  chaml^er  have  these  hearts  of  men, 

And  she  who  enters  thrusts  the  other  forth. 

There  is  that  slave-girl,  come  from  Jessulmere, 

A  brown  pearl  of  the  Prophet's  Paradise, 

Wondrously  fair — as  none  e'er  saw  ;  give  word 

They  deck  her  with  the  garments  of  Mumtaz, 

And  hang  the  Queen's  pearls  round  her  throat,  and  bring 

The  Rajpootni  into  the  Queen's  own  room 

When  she  is  gone — so  may  my  Lord  the  King 

Be  tenderly  beguiled,  and  Mumtaz  scorned. " 

And  this  the  Palace  Ladies  swore  was  good. 

Surely,  'twas  perilous. 

The  girl 
Knew — for  they  told  her — she  must  die,  or  gain 
Life,  and  long  favor,  and  large  wealth  in  gold. 
At  moment  when  her  veil  should  drop,  and  show 
Full  moonlight  of  her  face.     To  reign,  see  you, 
First  in  that  Court,  to  win  the  eyes  of  him 
Who  ruled  upon  the  "  Peacock-throne,"  and  stretched 
Hands  of  command  from  Balkh  to  Himalay, 
Was  worth  some  risk,  it  seemed  of  fierce  farrash.  * 
Therefore — half  willing,  half  constrained — she  sat 
Trembling,  upon  the  silks  of  Mumtaz's  bed, 
In  vestments  of  the  beauteous  Queen,  her  face 
Wrapped  in  the  golden  chuddur.     Oh  !  'tis  known 
What  fell,  because  a  Palace  maiden  heard — 

*  The  Executioner. 


QUEEN  ARJAMAND's  DAGGER  287 

Listening  outside  the  marble  jali-work — 
And  told  it,  word  for  word,  to  Arjamand. 

*  *  *  *  *  :{: 

The  Sultan  came 
Clad  in  his  private  dress — white  muslin  clasped 
With  one  great  pearl,  white  cap  and  jewelled  shoes — 
And,  throwing  down  his  scimitar  and  shawl. 
Spake  with  a  gentle  smile :  "  Light  of  my  life ! 
Once  more  I  shut  the  great  loud  world  away 
And  come  to  reign  in  this  one  realm  I  love. 
The  heart  of  Mumtaz  !"     Rose  the  Rajpootni, 
All  quaking  underneath  her  rich  disguise. 
And  bent  full  lowly  to  the  King  of  Hind, 
And  kissed  his  feet ; — then,  let  her  chuddur  fall, 
And — lo  !  it  was  not  Mumtaz  there !  his  queen. 
But  that  strange,  lovely,  frightened  girl,  with  throat 
Heaving,  eyes  gleaming,  hands  on  bosom  clasped. 
Who  murmured :  "  Lord  of  all  the  world  !  thy  slave 
AVaiteth  thy  will  that  she  may  live  or  die." 
Doubtless,  you  think  he  drew  his  blade  and  slew  her 

there ! 
He  was  a  man,  'tis  writ,  of  gravity ; 
Nice  in  his  pride,  terrible  in  his  wrath. 
But  oh  !  you  do  not  know  how  fair  she  was ! 
Otherwise  who  had  ventured  ?     On  his  lips 
Ended  even  in  beginning  those  dread  words 
Which  leaped  from  royal  anger.     At  mid-rage 
The  charm  unspeakable  of  that  sweet  slave 
Melted  his  mounting  fury  !     Allah  makes 
Sometimes  a  face  and  form  to  smite  man's  soul 
With  witchery  of  subtlest  symmetry, 
And  she  was  such  !     That  Lady  of  the  Taj 
Owned  not  such  lustrous  orbs,  nor  could  have  shown 
Stature  so  cypress-like,  such  arms,  such  limbs. 
Such  eloquence  of  beauty,  touched  by  fear 


288  ADVANCED   ELOCUTION 

Into  bewitching  grace.     Nay !  and  she  marked 

The  first  wrath  in  the  Sultan's  countenance 

Flicker  and  pass  as  flame  doth  pass  away 

When  rain  falls  on  the  sparkling  of  a  brand : 

So,  gently  dropped  upon  his  mind  the  rain 

Of  wonder,  pity,  will  of  gentilesse ; 

And,  when  she  sank  upon  her  face,  and  sobbed, 

"  Lord  of  the  Age !  forgive  me !    Send  me  hence 

Alive !     I  was  not  told  how  great  thou  art. 

How  terrible  !  how  base  and  bold  my  deed  !" 

He  raised  the  Rajpoot  girl,  gazed  on  her  face 

With  softening  eyes,  and,  while  her  heart  beat  quick, 

Touched — with  strange  tremble  of  his  hands — her  hair, 

Her  brows,  her  ears !  then,  conquering  himself, 

Spake :  "  Get  thee  hence,  alive  !     Fairest,  thou  art 

Of  Allah's  works  !  and  I — I  am  a  man, 

Albeit  Lord  of  men  and  Shah  Jahan ; 

Yet  one  thing  fairer  is  than  even  thou, 

And  sweeter  far  for  me  to  have  and  keep, 

The  faith  I  held  and  hold  to  her  whose  name 

Thou  art  not  meet  to  hear !     Rajpootni !  see, 

I  close  mine  eyes,  not  longer  to  behold 

Thy  beauty,  lest  it  tempt  my  rebel  blood 

To  traitorousness  like  thine.     Begone !  begone  I 

Before  I  look  again  ;  for  I  shall  slay, 

Or  I  shall  love,  and  both  were  deeds  indign  I" 


She  glided  forth, 
Seeking  escape ;  but  those  that  heard  the  words 
And  saw  all  done,  laid  hands  on  her,  and  haled 
The  weeping  maid  to  angry  Arjamand, 
Decked  as  she  was  in  the  Queen's  cloth  of  gold. 
Wearing  the  Palace-pearls,  ungirt,  new-bathed. 
Painted,  and  henna-stained,  and  scented  sweet. 


289 


They  told  what  passed,  and  how  the  Sultan  spake, 
She  cowering  at  the  proud  Sultana's  feet. 

^f^  ^|>  ^|>  ^L^  ^IV  Sif 

Then  the  Queen  drew  the  dagger  from  her  waist, 

A  knife  of  watered  steel,  hafted  with  jade, 

And  on  the  hilt  a  ruby  worth  three  lakhs. 

Pigeon-blood  color,  marvelous,  the  gift 

Of  Shah  Jahan  in  some  soft  hour  of  love — 

An  unmatched  stone.     And,  when  they  looked  to  see 

The  keen  point  pierce  the  satin  skin 

Stripped  of  its  veil — Arjamand  stooped  and  placed 

The  dagger-blade  beneath  her  sandal,  snapped 

The  bright  steel  short,  and,  drawing  near  to  hers 

That  Rajpoot's  face,  kissed  tenderly  her  mouth, 

And  gravely  spoke :  "  Go  !  thou  hast  given  me 

The  richest,  best,  last  gift  Avhich  earth  could  give 

In  comfort  of  my  great  Lord's  constancy. 

Take  thou  this  jewel  of  my  dagger.  Friend  ! — 

Nowise  its  point ! — and  a  Queen's  thanks  therewith 

For  treason  dearly  done  to  Arjamand  !" 

Edwin  Arnold. 


THE  ASTRONOMER'S  VISION. 

GOD  called  up  from  dreams  a  man  into  the  vestibule  of 
heaven,  saying,  "Come  thou  hither  and  see  the  glory 
of  my  house."  And  to  the  servants  that  stood  around  His 
throne  He  said,  "  Take  him,  and  undress  him  from  his 
robes  of  flesh :  cleanse  his  vision,  and  put  a  new  breath 
into  his  nostrils:  only  touch  not  with  any  change  his 
human  heart — the  heart  that  weeps  and  trembles." 

It  was  done :  and,  with  a  mighty  angel  for  his  guide, 
the  man  stood  ready  for  his  infinite  voyage;  and  from  the 
terraces  of   heaven,  without  sound  or  farewell,  at  once 
19     . 


290  ADVANCED    ELOCUTION 

they  wheeled  away  into  endless  space.  Sometimes  with 
the  solemn  flight  of  angel  wing  they  fled  through  infinite 
realms  of  darkness,  through  wildernesses  of  death,  that 
divided  the  Avorlds  of  life;  sometimes  they  swept  over 
frontiers  that  were  quickening  under  prophetic  motions 
from  God. 

Then,  from  a  distance  that  is  counted  only  in  heaven, 
light  dawned  for  a  time  through  a  sleepy  film ;  by  unut- 
terable pace,  the  light  swept  to  them,  they,  by  unutterable 
pace,  to  the  light.  In  a  moment,  the  rushing  of  planets 
was  upon  them :  in  a  moment,  the  blazing  of  suns  was 
around  them. 

Then  came  eternities  of  twilight,  that  revealed,  but 
were  not  revealed.  On  the  right  hand  and  on  the  left 
toward  mighty  constellations,  that  by  self-repetitions  and 
answers  from  afar,  that  by  counter-positions,  built  up 
triumphal  gates,  whose  architraves,  whose  archways — 
horizontal,  upright — rested,  rose  at  altitude,  by  spans  that 
seemed  ghostly  from  infinitude.  Without  measure  were 
the  architraves,  past  number  were  the  archways,  beyond 
memory  the  gates. 

Within  were  stairs  that  scaled  the  eternities  below; 
above  was  below — below  was  above,  to  the  man  stripped 
of  gravitating  body :  depth  was  swallowed  up  in  height 
insurmountable,  height  was  swallowed  up  in  depth  un- 
fathomable. Suddenly,  as  thus  they  rode  from  infinite  to 
infinite,  suddenly,  as  thus  they  tilted  over  abysmal  worlds, 
a  mighty  cry  arose — that  systems  more  mysterious,  that 
worlds  more  billowy — other  heights  and  other  depths — 
were  coming,  were  nearing,  were  at  hand. 

Then  the  man  sighed,  and  stooped,  shuddered,  and 
wept.  His  overladen  heart  uttered  itself  in  tears,  and  he 
said :  "  Angel,  I  will  go  no  farther.  For  the  spirit  of  man 
acheth  with  this  infinity.  Insufferable  is  the  glory  of 
God.     Let  me  lie  down  in  the  grave  and  hide  me  from 


THE   SONG   OF   THE   LOTUS-EATERS  291 

the  prosecution  of  the  infinite ;  for  end,  I  see,  there  is 
none." 

And  from  all  the  listening  stars  that  shone  around  issued 
a  choral  voice :  "  The  man  speaks  truly :  end  there  is 
none,  that  ever  yet  we  heard  of."  "  End  is  there  none  ?" 
the  angel  solemnly  demanded.  "  Is  there  indeed  no 
end  ? — and  is  this  the  sorrow  that  kills  you  ?"  But  no 
voice  answered,  that  he  might  answer  himself.  Then  the 
angel  threw  up  his  glorious  hands  to  the  heaven  of 
heavens,  saying,  "  End  is  there  none  to  the  universe  of 
God.     Lo  !  also,  there  is  no  beginning." 

Translated  by  Prof.  Mitchell. 


THE  SONG  OF  THE  LOTUS-EATERS. 

(The  lotus  of  the  lotus-eaters  is  probably  a  tree  found  in  Northern  Africa,  the 
fruit  of  which  is  mildly  sweet.  It  was  fabled  by  the  ancients,  to  make  strangers 
who  ate  of  it  forget  their  native  country,  or  lose  all  desire  to  return  to  it,  and  to 
give  themselves  up  to  pleasure-seeking.) 

THERE  is  sweet  music  here  that  softer  falls 
Than  petals  from  blown  roses  on  the  grass. 
Or  night  dews  on  still  waters  between  Avails 
Of  shadowy  granite,  in  a  gleaming  pass ; 
Music  that  gentlier  on  the  spirit  lies 
Than  tired  eyelids  upon  tired  eyes ; 

Music  that  brings  sweet  sleep  down  from  the  blissful  skies. 
Here  are  cool  mosses  deep, 
And  through  the  moss  the  ivies  creep. 
And  in  the  stream  the  long  leaved  flowers  weep, 
And  from  the  craggy  ledge  the  poppy  hangs  in  sleep. 

Propt  on  beds  of  amaranth  and  moly. 
How  sweet  (while  warm  airs  lull  us,  blowing  lowly) 
With  half-dropt  eyelids  still, 


292  ADVANCED   ELOCUTION 

Beneath  a  heaven  dark  and  holy, 

To  watch  the  long  bright  river  drawing  slowly 

His  waters  from  the  purple  hill — 
To  hear  the  dewy  echoes  calling 

From  cave  to  cave  through  the  thick-twined  vine — 
To  watch  the  emerald- colored  water  falling 

Through  many  a  woven  acanthus- wreath  divine  ! 
Only  to  hear  and  see  the  far  off  sparkling  brine, 
Only   to   hear   were   sweet,   stretched    out    beneath    the 
pine. 

The  Lotus  blooms  below  the  barren  peak ; 

The  Lotus  blows  by  every  winding  creek ; 

All  day  the  wind  breathes  low  with  mellower  tone; 

Through  every  hollow  cave  and  alley  lone, 

Round  and  round  the  spicy  downs  the  yellow  Lotus  dust 

is  blown. 
We  have  had  enough  of  action,  and  of  motion  we, 
Rolled  to  starboard,  rolled  to  larboard,  when  the  surge 

was  seething  free, 
Where  the  wallowing  monster  spouted  his  foam-fountains 

in  the  sea. 
Let  us  swear  an  oath,  and  keep  it  with  an  equal  mind, 
In  the  hollow  Lotus-land  to  live  and  lie  reclined 
On  the  hills  like  gods  together,  careless  of  mankind. 
For  they  lie  beside  their  nectar,  and  the  bolts  are  hurled 
Far  below  them  in  the  valleys,  and  the  clouds  are  lightly 

curled 
Round  their  golden  houses,  girdled  wdth  the  gleaming 

world ; 
Where  they  smile  in  secret,  looking  over  wasted  lands, 
Bliglit  and  famine,  plague  and  earthquake,  roaring  deeps 

and  fiery  sands. 
Clanging  fights,  and  flaming  towns,  and  sinking  ships,  and 

praying  hands. 


NATURE   DESIGNED   FOR   OUR   ENJOYMENT  293 

But  they  smile ;  they  find  a  music  centered  in  a  doleful 

song 
Steaming  up,  a  lamentation  and  an  ancient  tale  of  wrong, 
Like  a  tale  of  little  meaning,  though  the  words  are  strong ; 
Chanted  from  a  race  of  ill-used  men  that  cleave  the  soil, 
Sow  the  seed,  and  reap  the  harvest  with  enduring  toil. 
Storing  yearly  little  dues  of  wheat,  and  wine,  and  oil. 
Till  they  perish  and  they  suffer — some,  'tis  whispered — 

down  in  hell 
Suffer  endless  anguish,  others  in  Elysian  valleys  dwell, 
Resting  weary  limbs  at  last  on  beds  of  asphodel. 
Surely,  surely,  slumber  is  more  sweet  than  toil,  the  shore 
Than  labor  in  the  deep  mid-ocean,  wind  and  wave  and  oar ; 
O  rest  ye,  brother  mariners,  we  will  not  wander  more. 

Alfred  Tennyson. 


NATURE  DESIGNED  FOR  OUR  ENJOYMENT. 

From  ••  Lectures  to  Young  Men,"  by  permission  of  Messrs.  Fords,  Howard  & 
Hulbert,  New  York. 

THE  necessity  of  amusement  is  admitted  on  all  hands. 
There  is  an  appetite  of  the  eye,  of  the  ear,  and  of  every 
sense,  for  which  God  has  provided  the  material.  Gayety 
of  every  degree,  this  side  of  puerile  levity,  is  wholesome 
to  the  body,  to  the  mind,  and  to  the  morals.  Nature  is  a 
vast  repository  of  manly  enjoyments.  The  magnitude  of 
God's  works  is  not  less  admirable  than  its  exhilarating 
beauty.  The  rudest  forms  have  something  of  beauty ; 
the  ruggedest  strength  is  graced  with  some  charm ;  the 
very  pins  and  rivets  and  clasps  of  nature  are  attractive 
by  qualities  of  beauty,  more  than  is  necessary  for  mere 
utility.  The  sun  could  go  down  Avithout  gorgeous  clouds ; 
evening  could  advance  without  its  evanescent  brilliance ; 
trees  might  have  flourished  without  symmetry ;  flowers 
have  existed  without  odor,  and  fruit  without  flavor.  When 


294  ADVANCED    ELOCUTION 

I  have  journeyed  through  forests,  where  ten  thousand 
shrubs  and  vines  exist  without  apparent  use;  through 
prairies,  whose  undulations  exhibit  sheets  of  flowers  in- 
numerable, and  absolutely  dazzling  the  eye  with  their 
prodigality  of  beauty — beauty,  not  a  tithe  of  which  is 
ever  seen  by  man — I  have  said,  it  is  plain  that  God  is 
Himself  passionately  fond  of  beauty,  and  the  earth  is  His 
garden,  as  an  acre  is  man's.  God  has  made  us  like  Him- 
self, to  be  pleased  by  the  universal  beauty  of  the  world. 
He  has  made  provision  in  nature,  in  society,  and  in  the 
family,  for  amusement  and  exhilaration  enough  to  fill  the 
heart  with  the  perpetual  sunshine  of  delight. 

Upon  this  broad  earth,  purfled  with  flowers,  scented 
with  odors,  brilliant  in  colors,  vocal  with  echoing  and  re- 
echoing melody,  I  take  my  stand  against  all  demoralizing 
pleasure.  Is  it  not  enough  that  our  Father's  house  is  sc 
full  of  dear  delights,  that  we  must  wander  prodigal  to  the 
swine-herd  for  husks,  and  to  the  slough  for  drink  ? — when 
the  trees  of  God's  heritage  bend  over  our  head  and  solicit 
our  hand  to  pluck  the  golden  fruitage,  must  we  still  go 
in  search  of  the  apples  of  Sodom,  outside  fair  and  inside 
ashes  ? 

Men  shall  crowd  to  the  circus  to  hear  clowns,  and  see 
rare  feats  of  horsemanship,  but  a  bird  may  poise  beneath 
the  very  sun,  or  flying  downward,  swoop  from  the  high 
heaven ;  then  flit  with  graceful  ease  hither  and  thither, 
pouring  liquid  song  as  if  it  were  a  perennial  fountain  of 
sound — no  man  cares  for  that. 

Upon  the  stage  of  life,  the  vastest  tragedies  are  perform- 
ing in  every  act;  nations  pitching  headlong  to  their  final 
catastrophe ;  others,  raising  their  youthful  forms  to  begin 
the  drama  of  existence.  The  world  of  society  is  as  full  of 
exciting  interest  as  nature  is  full  of  beauty.  The  great 
dramatic  throng  of  life  is  bustling  along — the  wise,  the 
fool,   the   clown,   the   miser,   the  bereaved,  the  broken- 


AFTER  WHILES  296 

hearted.  Life  mingles  before  us  smiles  and  tears,  sighs 
and  laughter,  joy  and  gloom,  as  the  spring  mingles 
the  winter  storm  and  summer  sunshine.  To  this  vast 
Theatre  which  God  hath  builded,  where  stranger  plays  are 
seen  than  ever  author  writ,  man  seldom  cares  to  come. 
When  God  dramatizes,  when  nations  act,  or  all  the  human 
kind  conspire  to  educe  the  vast  catastrophe,  men  sleep  and 
snore,  and  let  the  busy  scene  go  on,  unlooked,  unthought 
upon.  ...  It  is  my  object  then,  not  to  withdraw  the 
young  from  pleasure,  but  from  unworthy  pleasures ;  not 
to  lessen  their  enjoyments,  but  to  increase  them,  by  reject- 
ing the  counterfeit  and  the  vile. 

Henry  Ward  Beecher. 


AFTERWHILES. 

Pennission  of  The  Bowen-Merrill  Company,  Indianapolis,  Ind. 

WHERE  are  they— the  Afterwhiles— 
Luring  us  the  lengthening  miles 
Of  our  lives  ?     Where  is  the  dawn 
With  the  dew  across  the  lawn 
Stroked  with  eager  feet  the  far 
Way  the  hills  and  valleys  are  ? 
Where  the  sun  that  smites  the  frown 
Of  the  eastward-gazer  down  ? 
Where  the  rifted  wreaths  of  mist 
O'er  us,  tinged  with  amethyst, 
Round  the  mountain's  deep  defiles  ? 
Where  are  all  the  afterwhiles  ? 

Afterwhile — and  we  will  go 
Thither,  yon,  and  to  and  fro — 
From  the  stifling  city-streets 
To  the  country's  cool  retreats — 


294  ADVANCED    ELOCUTION 

I  have  journeyed  through  forests,  where  ten  thousand 
shrubs  and  vines  exist  without  apparent  use;  through 
prairies,  whose  undulations  exhibit  sheets  of  flowers  in- 
numerable, and  absolutely  dazzling  the  eye  with  their 
prodigality  of  beauty — beauty,  not  a  tithe  of  which  is 
ever  seen  by  man — I  have  said,  it  is  plain  that  God  is 
Himself  passionately  fond  of  beauty,  and  the  earth  is  His 
garden,  as  an  acre  is  man's.  God  has  made  us  like  Him- 
self, to  be  pleased  by  the  universal  beauty  of  the  world. 
He  has  made  provision  in  nature,  in  society,  and  in  the 
family,  for  amusement  and  exhilaration  enough  to  fill  the 
heart  with  the  perpetual  sunshine  of  delight. 

Upon  this  broad  earth,  purfled  with  flowers,  scented 
with  odors,  brilliant  in  colors,  vocal  with  echoing  and  re- 
echoing melody,  I  take  my  stand  against  all  demoralizing 
pleasure.  Is  it  not  enough  that  our  Father's  house  is  sc 
full  of  dear  delights,  that  we  must  wander  prodigal  to  the 
swine-herd  for  husks,  and  to  the  slough  for  drink  ? — when 
the  trees  of  God's  heritage  bend  over  our  head  and  solicit 
our  hand  to  pluck  the  golden  fruitage,  must  we  still  go 
in  search  of  the  apples  of  Sodom,  outside  fair  and  inside 
ashes  ? 

Men  shall  crowd  to  the  circus  to  hear  clowns,  and  see 
rare  feats  of  horsemanship,  but  a  bird  may  poise  beneath 
the  very  sun,  or  flying  downward,  swoop  from  the  high 
heaven ;  then  flit  with  graceful  ease  hither  and  thither, 
pouring  liquid  song  as  if  it  were  a  perennial  fountain  of 
sound — no  man  cares  for  that. 

Upon  the  stage  of  life,  the  vastest  tragedies  are  perform- 
ing in  every  act;  nations  pitching  headlong  to  their  final 
catastrophe ;  others,  raising  their  youthful  forms  to  begin 
the  drama  of  existence.  The  world  of  society  is  as  full  of 
exciting  interest  as  nature  is  full  of  beauty.  The  great 
dramatic  throng  of  life  is  bustling  along — the  wise,  the 
fool,   the   clown,   the  miser,   the  bereaved,  the  broken- 


AFTERWHILES  295 

hearted.  Life  mingles  before  us  smiles  and  tears,  sighs 
and  laughter,  joy  and  gloom,  as  the  spring  mingles 
the  winter  storm  and  summer  sunshine.  To  this  vast 
Theatre  which  God  hath  builded,  where  stranger  plays  are 
seen  than  ever  author  writ,  man  seldom  cares  to  come. 
When  God  dramatizes,  when  nations  act,  or  all  the  human 
kind  conspire  to  educe  the  vast  catastrophe,  men  sleep  and 
snore,  and  let  the  busy  scene  go  on,  unlooked,  unthought 
upon.  ...  It  is  my  object  then,  not  to  withdraw  the 
young  from  pleasure,  but  from  unworthy  pleasures ;  not 
to  lessen  their  enjoyments,  but  to  increase  them,  by  reject- 
ing the  counterfeit  and  the  vile. 

Henry  Ward  Beecher. 


AFTERWHILES. 

Permission  of  The  Bowen-Merrill  Compatiy,  Indianapolis,  Ind. 

WHERE  are  they— the  Afterwhiles— 
Luring  us  the  lengthening  miles 
Of  our  lives  ?     Where  is  the  dawn 
With  the  dew  across  the  lawn 
Stroked  with  eager  feet  the  far 
Way  the  hills  and  valleys  are  ? 
Where  the  sun  that  smites  the  frown 
Of  the  eastward-gazer  down  ? 
Where  the  rifted  wreaths  of  mist 
O'er  us,  tinged  with  amethyst. 
Round  the  mountain's  deep  defiles  ? 
Where  are  all  the  afterwhiles  ? 

Afterwhile — and  we  will  go 
Thither,  yon,  and  to  and  fro — 
From  the  stifling  city-streets 
To  the  country's  cool  retreats — 


ADVANCED    ELOCUTION 

From  the  riot  to  the  rest 
Where  hearts  beat  the  placidest; 
Afterwhile,  and  we  will  fall 
Under  breezy  trees,  and  loll 
In  the  shade,  with  thirsty  sight 
Drinking  deep  the  blue  delight 
Of  the  skies  that  will  beguile 
Us  as  children — afterwhile. 


Afterwhile — and  one  intends 
To  be  gentler  to  his  friends — 
To  walk  with  them,  in  the  hush 
Of  still  evenings,  o'er  the  plush 
Of  home-leading  fields,  and  stand 
Long  at  parting,  hand  in  hand : 
One,  in  time,  will  joy  to  take 
New  resolves  for  some  one's  sake, 
And  wear  then  the  look  that  lies 
Clear  and  pure  in  other  eyes — 
He  will  soothe  and  reconcile 
His  own  conscience — afterwhile. 

Afterwhile — we  have  in  view 
A  far  scene  to  journey  to, — 
Where  the  old  home  is,  and  where 
The  old  mother  waits  us  there. 
Peering,  as  the  time  grows  late, 
Down  the  old  path  to  the  gate. 
How  we'll  click  the  latch  that  locks 
In  the  pinks  and  hollyhocks. 
And  leap  up  the  path  once  more 
Where  she  waits  us  at  the  door ! 
How  we'll  greet  the  dear  old  smile, 
And  the  warm  tears — afterwhile! 


A   VISIT   TO    BELLE   YARD  297 

Ah,  the  endless  afterwhiles ! 
Leagues  on  leagues,  and  miles  on  miles, 
In  the  distance  far  withdrawn, 
Stretching  on,  and  on,  and  on, 
Till  the  fancy  is  footsore 
And  faints  in  the  dust  before 
The  last  milestone's  granite  face, 
Hacked  with  :  Here  Beginneth  Space. 
0  far  glimmering  worlds  and  wings, 
Mystic  smiles  and  beckonings, 
Lead  us,  through  the  shadowy  aisles 
Out  into  the  afterwhiles. 

James  Whitcomb  Riley. 


A  VISIT  TO  BELLE  YARD. 

From  "  Bleak  House." 
(Adapted.) 

WHILE  my  guardian  and  I  were  in  London  we  were 
constantly  beset  by  home  missionaries  to  visit 
Belle  Yard,  a  narrow  alley  some  distance  from  our  hotel, 
so  one  bright  morning  we  repaired  thither. 

We  soon  found  the  chandler's  shop.  In  it  was  a  good- 
natured  looking  old  woman  with  a  dropsy  or  an  asthma, 
or  perhaps  both. 

"  Neckett's  children  ?"  said  she,  in  reply  to  my  inquiries. 
"  Yes,  surely,  Miss.  Up  three  pair,  if  you  please.  Door 
riglit  opposite  the  stairs,"  and  she  handed  me  the  key 
across  the  counter. 

I  glanced  at  the  key  and  glanced  at  her ;  but  slie  took 
it  for  granted  that  I  knew  what  to  do  with  it.  As  it  could 
only  be  intended  for  the  children's  door,  I  came  out  with- 
out asking  any  more  questions  and  led  the  way  up  the 
dark  stairs.     We  went  to  the  top  room ;  I  tapped  on  the 


298  ADVANCED   ELOCUTION 

door,  and  a  little  shrill  voice  inside  said :  "  We  are  locked 
in.     Mrs.  Blinder's  got  the  key  !" 

I  applied  the  key  on  hearing  this  and  opened  the  door. 
In  a  poor  room,  with  a  sloping  ceiling,  and  containing 
very  little  furniture,  was  a  mite  of  a  boy,  some  five  or  six 
years  old,  nursing  and  hushing  a  heavy  child  of  eighteen 
months.  There  was  no  fire,  though  the  weather  was  cold ; 
both  children  were  wrapped  in  some  poor  shawls  and  tip- 
pets as  a  substitute.  Their  clothing  was  not  so  warm, 
however,  but  that  their  noses  looked  red  and  pinched  and 
their  small  figures  shrunken,  as  the  boy  walked  up  and 
down,  nursing  and  hushing  the  child  with  its  head  on  his 
shoulder. 

"Who  has  locked  you  up  here  alone?"  we  naturally 
asked. 

"  Charley,"  said  the  boy,  still  gazing  at  us. 

"  Is  Charley  your  brother  ?" 

"  No ;  she's  my  sister  Charlotte.  Father  called  her 
Charley." 

"  Are  there  any  more  of  you  beside  Charley  ?" 

"Me,"  said  the  boy,  "and  Emma,"  patting  the  limp 
bonnet  of  the  child  he  was  nursing,  "  and  Charley — she's 
out  a- washing." 

We  were  looking  at  each  other  and  these  two  children, 
when  there  came  into  the  room  a  very  little  girl,  childish 
in  figure,  but  shrewd  and  older  looking  in  the  face — pretty 
faced,  too — wearing  a  womanly  sort  of  bonnet  much  too 
large  for  her,  and  drying  her  bare  arms  on  a  womanly  sort 
of  apron.  Her  fingers  were  white  and  wrinkled  with  wash- 
ing, and  the  soapsuds,  which  she  wiped  off  her  arms,  w^ere 
yet  smoking.  She  had  come  running  from  some  place 
in  the  neighborhood  and  had  made  all  the  haste  she 
could. 

"  Oh  !  here's  Charley,"  said  the  boy.  The  child  he  was 
nursing  stretched  forth  its  arms  and  cried  to  be  taken  by 


A   VISIT   TO    BELLE    YARD  299 

Charley.  The  little  girl  took  it  in  a  womanly  sort  of  man- 
ner belonging  to  the  apron  and  bonnet,  and  stood  looking 
at  us  over  the  burden  that  clung  to  her  most  affection- 
ately. 

"  Is  it  possible,"  whispered  my  guardian,  as  we  put  a 
chair  for  the  little  creature,  "  that  this  child  takes  care  of 
and  works  for  the  rest  ?  Look  at  this !  For  Heaven's 
sake,  look  at  this !" 

It  was  a  thing  to  look  at.  The  three  children,  close 
together,  and  two  of  them  relying  on  the  third,  and  the 
third  so  young  and  yet  with  an  air  of  age  and  steadiness 
that  sat  so  strangely  on  the  childish  figure. 

"  Charley,"  said  my  guardian,  "  how  old  are  you  ?" 

"  Over  thirteen,  sir,"  replied  the  child. 

"  What  a  great  age !"  said  my  guardian ;  "  what  a  great 
age !  And  do  you  live  here  alone  with  these  babies  ?  How 
do  you  live  ?" 

"  Yes,  sir,"  replied  the  child,  looking  up  into  his  face 
with  perfect  confidence ;  "  since  father  died.  I  go  out  to 
work.     I'm  a-washing  to-day." 

"  And  when  did  your  mother  die  ?     Poor  mother !" 

"  Mother  died  just  after  Emma  was  born,"  said  the  child, 
glancing  at  the  face  upon  her  bosom.  "  Then  father  said 
I  was  to  be  as  good  a  mother  to  her  as  I  could.  And  so  I 
tried  and  worked  at  home.  And  that's  how  I  know  how. 
Don't  you  see,  sir?" 

"  And  do  you  often  go  out  and  lock  the  babies  up  ?" 

"  Yes,  as  often  as  I  can.  I  lock  the  door  to  keep  'em 
safe.    Tom  ain't  afraid  of  being  locked  up,  are  you,  Tom  ?" 

"  No-o,"  said  Tom,  stoutly. 

"  Then  he's  as  good  as  gold,"  said  the  little  creature. 
"  And  when  Emma  is  tired  he  puts  her  to  bed,  and  when 
he  gets  tired  he  goes  to  bed,  too.  And  when  I  come  home 
and  light  the  candle  and  has  a  bit  of  supper,  he  gets  up 
again  and  has  it  with  me.     Don't  you,  Tom  ?" 


300  ADVANCED    ELOCUTION 

"  Oh,  yes !  Charley,"  said  Tom  ;  "  that  I  do !"  and  either 
in  this  glimpse  of  the  great  pleasure  of  his  life  or  in  grati- 
tude and  love  for  Charley,  who  was  all  in  all  to  him,  he 
laid  his  face  among  the  scanty  folds  of  her  frock  and  passed 
from  laughing  into  crying. 

It  was  the  first  time  since  our  entrance  that  a  tear  had 
been  shed  among  these  children.  The  little  orphan  girl 
had  spoken  of  their  father  and  mother  as  if  all  that  sorrow 
were  subdued  by  the  necessity  of  taking  courage,  and  by 
her  childish  importance  in  being  able  to  work  and  by  her 
busy,  bustling  way.  But  now,  when  Tom  cried,  although 
she  sat  quite  tranquil,  looking  quietly  at  us,  and  did  not  by 
any  movement  disturb  a  hair  of  the  liead  of  either  of  her 
charges,  I  saw  two  silent  tears  fall  down  her  face.  I  stood 
at  the  window  pretending  to  gaze  at  the  house  tops  when 
Mrs.  Blinder  came  up. 

My  guardian  and  she  had  a  long  talk  about  the  little 
folks,  and  the  former  took  it  upon  himself  to  see  that  their 
condition  in  the  future  should  be  different. 

We  kissed  Charley  and  took  her  down-stairs  with  us 
and  stopped  outside  the  house  to  see  her  run  away  to 
her  work.  I  don't  know  where  she  was  going,  but  we  saw 
her  run,  such  a  little,  little  creature  in  a  womanly  bonnet 
and  apron,  througli  a  covered  way  at  the  bottom  of  the 
court,  and  melt  into  the  city's  strife  and  sound,  like  a  dew- 
drop  in  an  ocean.  Charles  Dickens. 


FREEDOM'S  AHEAD. 

NOW  that  Tom  Dunstan's  cold, 
Our  shop  is  duller; 
Scarce  a  story  is  told  ! 
And  our  chat  has  lost  the  old 
Red  republican  color ! 


freedom's  ahead  301 

Though  he  was  sickly  and  thin, 

He  gladdened  us  with  his  face. 
How,  warming  at  rich  man's  sin, 
With  bang  of  the  fist,  and  chin 

Thrust  out,  he  argued  the  case ! 
He  prophesied  folk  should  be  free,    • 

And  the  money-bags  be  bled ; — 
"She's  coming,  she's  coming!"  said  he; 
"  Courage,  boys !     Wait  and  see ! 

Freedom's  ahead !" 


All  day  we  sat  in  the  heat, 

Like  spiders  spinning. 
Stitching  full,  fine,  and  fleet. 
While  the  old  Jew  on  his  seat 

Sat  greasily  grinning ; 
And  there  Tom  said  his  say. 

And  prophesied  Tyranny's  death ; 
And  the  tallow  burnt  all  day. 
And  we  stitched  and  stitched  away 

In  the  thick  smoke  of  our  breath, 
Wearily,  wearily,  so  wearily 

With  hearts  as  heavy  as  lead ; — 
But,  '^  Patience  !  she's  coming !"  said  he; 
"  Courage,  boys  !     Wait  and  see  I 

Freedom's  ahead !" 

And  at  night  when  we  took  here 

The  pause  allowed  to  us. 
The  paper  came  with  the  beer 
And  Tom  read,  sharp  and  clear, 

The  news  out  loud  to  us. 
And  then  in  his  witty  way 

He  threw  the  jest  about. 


302  ADVANCED   ELOCUTION 

The  cutting  things  he'd  say 
Of  the  wealthy  and  the  gay  ! 

How  he  turned  them  inside  out  I 
And  it  made  our  breath  more  free 
To  hearken  to  what  he  said ; — 
"  She's  coming,  she's  coming !"  says  he; 
"  Courage,  boys !    Wait  and  see  I 
Freedom's  ahead !" 

But  grim  Jack  Hart,  with  a  sneer, 

Would  mutter,  "  Master ! 
If  Freedom  means  to  appear, 
I  think  she  might  step  here 

A  little  faster !" 
Then  it  was  fine  to  see  Tom  flame 

And  argue  and  prove  and  preach, 
Till  Jack  was  silent  for  shame, 
Or  a  fit  of  coughing  came 

0'  sudden  to  spoil  Tom's  speech. 
Ah !     Tom  had  the  eyes  to  see 

When  Tyranny  should  be  sped ; — 
"  She's  coming,  she's  coming !"  said  he ; 
"  Courage,  boys  !     Wait  and  see ! 

Freedom's  ahead !" 

But  Tom  was  little  and  weak ; 

The  hard  hours  shook  him  ; 
Hollo wer  grew  his  cheek, 
And  when  he  began  to  speak 

The  coughing  took  him. 
Ere  long  the  cheery  sound 

Of  his  chat  among  us  ceased. 
And  we  made  a  purse  all  round 

That  he  might  not  starve,  at  least. 


303 


His  pain  was  sorry  to  see, 

Yet  there — on  his  poor  sick-bed, 
"  She's  coming  in  spite  of  me ! 

Courage  and  wait,"  cried  he, 
"  Freedom's  ahead !" 


A  little  before  he  died, 

Just  to  see  his  passion  I 
"  Bring  me  a  paper !"  he  cried, 
And  then  to  study  it  tried 

In  his  old  sharp  fashion ; 
And  with  eyeballs  glittering. 

His  look  on  me  he  bent, 
And  said  that  savage  thing 

Of  the  lords  of  the  Parliament, 
Then  darkening,  smiling  on  me, 

"  What  matter  if  one  be  dead  ? 
She's  coming,  at  least,"  said  he ; 
"  Courage,  boys  !     Wait  and  see  ! 

Freedom's  ahead  !" 

And  now  Tom  Dunstan's  cold 

The  shop  feels  duller ; 
Scarce  a  story  is  told ; 
Our  talk  has  lost  the  old 

Red  republican  color ! 
But  we  see  a  figure  gray, 

And  we  hear  a  voice  of  death. 
And  the  tallow  burns  all  day, 
And  we  stitch  and  stitch  away, 

In  the  thick  smoke  of  our  breath ; 
Ay,  here  in  the  dark  sit  we, 
While  wearily,  wearily, 

We  hear  him  call  from  the  dead : 


304  ADVANCED   ELOCUTION 

"  She's  coming,  she's  coming,"  says  he, 
"  Freedom's  ahead ! 


How  long,  0  Lord,  how  long 

Doth  Thy  handmaid  linger  ? 
She  who  shall  right  the  wrong — ■ 
Make  the  oppressed  strong — 

Sweet  morrow,  bring  her ! 
Hasten  her  over  the  sea, 

O  Lord,  ere  hope  be  fled ; 
Bring  her  to  men  and  to  me ; 
O  slave,  pray  still  on  thy  knee 

For  the  freedom  ahead ! 

Robert  Buchanan. 


OUR  FALLEN  HEROES. 

THE  distinction  of  our  volunteer  army  over  all  other 
armies  of  all  times  was  its  intelligence.  Behind 
every  musket  was  a  thinking  man.  On  the  march, 
around  the  camp  fire,  in  the  hospital  and  the  prison,  and 
in  letters  to  friends  at  home,  these  men  discussed  tlie 
issues  at  stake  and  the  results  that  would  follow  defeat  or 
victory  with  as  much  statesmanship  and  prophetic  fore- 
sight as  their  representatives  in  Congress.  Of  the  million 
volunteer  soldiers,  thousands  were  fitted  by  culture,  ability, 
and  character  to  be  Presidents  of  the  United  States. 

Latour  d'Auvergne  was  a  grenadier  of  Naj^oleon's  Old 
Guard.  Bravest  of  the  brave  on  every  battle-field,  he  was 
tendered  for  distinguished  services  a  sword  bearing  this 
inscription,  "  To  the  first  grenadier  of  France ;"  but  he  re- 
fused it,  saying,  "Among  us  soldiers  there  is  neither  first 
nor  last."  Constantly  declining  promotion,  and  ever  win- 
ning fresh  laurels,  he  fell  fighting  gloriously  for  his  coun- 


OUR   FALLEN   HEROES  305 

try,  and  an  imperial  decree  gave  him  a  distinction  never 
enjoyed  by  the  proudest  marshal  of  the  empire.  His  name 
continued  on  the  roll  of  his  company,  and  when  it  was 
called  the  oldest  sergeant  answered,  "  Died  on  the  field  of 
honor."  And  this  year  and  the  next,  and  for  the  next 
decade,  and  centuries  after,  on  the  anniversary  of  this 
Decoration  Day,  when  the  roll-call  in  every  churchyard 
and  village  cemetery  of  the  men  Avho  died  in  the  conflict 
is  read,  the  answer  of  a  grateful  people  will  be,  "  Died 
upon  the  field  of  honor." 

There  is  an  old  epitaph  in  an  English  churchyard  which 
quaintly  says  that  "  he  who  saves,  loses  ;  he  who  spends, 
saves ;  and  he  who  gives  away,  takes  it  with  him."  These 
men  gave  away  their  lives,  and  took  with  them  immortal 
glory  and  the  gratitude  of  endless  generations.  They  may 
repose  in  unknown  graves  south  of  the  Potomac,  or  sleep 
beneath  the  sea,  and  yet  theirs  is  a  deathless  fame.  Poetry 
and  eloquence  will  embalm  their  memories,  and  keep  ever 
bright  the  recollection  of  their  heroic  deeds. 

"  They  never  fail  who  die 
In  a  great  cause.     The  block  may  soak  their  gore ; 
Their  heads  may  sodden  in  the  sun,  their  limbs 
Be  strung  to  city  gates  and  castle  walls ; 
But  still  their  spirit  walks  a])road.     Though  years 
Elapse,  and  others  share  as  dark  a  doom. 
They  but  augment  the  deep  and  sweeping  thoughts 
Which  overpower  all  others,  and  conduct 
The  world  at  last  to  freedom." 

Chauncey  M.  Depew. 


20 


306  ADVANCED    ELOCUTION 

WHY  THEY  TWINKLE. 

Permission  of  "  Tho  Outlook,"  New  York. 

WHEN  Eve  had  led  her  lord  away, 
And  Cain  had  killed  his  brother, 
The  stars  and  flowers,  the  poets  say, 
Agreed  with  one  another 

To  cheat  the  cunning  tempter's  art 

And  teach  the  race  its  duty, 
By  keeping  on  its  wicked  heart 

Their  eyes  of  light  and  beauty. 

A  million  sleepless  lids,  they  say, 

Will  be  at  least  a  warning — 
And  so  the  flowers  would  watch  by  day, 

The  stars  from  eve  to  morning. 

On  hill  and  prairie,  field  and  lawn. 

Their  dewy  eyes  upturning, 
The  flowers  still  watch  from  reddening  dawn 

Till  western  skies  are  burning. 

Alas !  each  hour  of  daylight  tells 

A  tale  of  shame  so  crushing. 
That  some  turn  white  as  sea-bleached  shells, 

And  some  are  always  blushing. 

But  when  the  patient  stars  look  down 

On  all  their  light  discovers — 
The  traitor's  smile,  the  murderer's  frown. 

The  lips  of  lying  lovers — 


A  TRIBUTE  TO   MOTHERHOOD  307 

They  try  to  shut  their  saddening  eyes, 

And  in  the  vain  endeavor 
We  see  them  twinkling  in  the  skies, 

And  so  they  wink  forever. 

Oliver  Wendell  Holmes. 


A  TRIBUTE  TO  MOTHERHOOD. 

(From  ♦'  The  Princess.") 

ALONE,  from  earlier  than  I  know, 
Immersed  in  rich  foreshadowings  of  the  world, 
I  loved  the  woman ;  he,  that  doth  not,  lives 
A  drowning  life,  besotted  in  sweet  self. 
Or  pines  in  sad  experience  worse  than  death. 
Or  keeps  his  wing'd  affections  dipt  with  crime : 
Yet  was  there  one  thro'  whom  I  loved  her,  one 
Not  learned,  save  in  gracious  household  ways, 
Not  perfect,  nay,  but  full  of  tender  wants, 
No  Angel,  but  a  dearer  being,  all  dipt 
In  Angel  instincts,  breathing  Paradise, 
Interpreter  between  the  Gods  and  men, 
Who  look'd  all  native  to  her  place,  and  yet 
On  tiptoe  seem'd  to  touch  upon  a  sphere 
Too  gross  to  tread,  and  all  male  minds  perforce 
Sway'd  to  her  from  their  orbits  as  they  moved 
And  girdled  her  with  music.     Happy  he 
With  such  a  mother !     Faith  in  womankind 
Beats  with  his  blood,  and  trust  in  all  things  high 
Comes  easy  to  him,  and  tho'  he  trip  and  fall, 
He  shall  not  blind  his  soul  with  clay. 

Tennyson. 


308  ADVANCED   ELOCUTION 

THE   DESPONDENT  INVENTOR  (XVI  CENTURY). 

(From  the  "  Last  of  the  Barons.") 

AWFUL  is  the  duel  between  Man  and  the  Age  in  which 
he  lives !  For  the  gain  of  posterity  this  inventor,  Adam 
Warner,  had  martyrized  existence — and  the  children  had 
pelted  him  as  he  passed  along  the  streets !  .  .  .  Again 
he  paced  restlessly  to  and  fro  the  narrow  floor  of  his 
room.  At  last  he  approached  the  Model — the  model  of  a 
mighty  and  stupendous  invention ;  the  fruit  of  no  chi- 
merical and  visionary  science — a  great  Promethean  Thing, 
that,  once  matured,  would  divide  the  Old  World  from  the 
New,  enter  into  all  operations  of  Labor,  animate  all  the 
future  affairs,  color  all  the  practical  doctrines,  of  active 
men.  He  paused  before  it,  and  addressed  it  as  if  it  heard 
and  understood  him  :  "  My  hair  was  dark,  and  my  tread 
was  firm,  when  one  night,  a  Thought  passed  into  my 
soul — a  thought  to  make  Matter  the  gigantic  slave  of 
Mind.  Out  of  this  thought,  thou,  not  yet  born  after  five- 
and-twenty  years  of  travail,  wert  conceived.  My  coffers 
were  then  full,  and  my  name  honored ;  and  the  rich  re- 
spected and  the  poor  loved  me.  Art  thou  a  devil,  that 
has  tempted  me  to  ruin ;  or  a  god  that  has  lifted  me  above 
the  earth  ?  I  am  <5^1d  before  my  time — my  hair  is  blanched, 
my  frame  is  bowed,  my  wealth  is  gone,  my  name  is 
sullied.  And  all,  dumb  Idol  of  Iron  and  the  Element,  all 
for  thee!  I  had  a  wife  whom  I  adored — she  died  ;  I 
forgot  her  loss  in  the  hope  of  th}^  life.  I  have  a  child 
still — God  forgive  me — she  is  less  dear  to  me  than  thou 
hast  been.  And  now — "  the  old  man  ceased  abruptly,  and 
folding  his  arms,  looked  at  the  deaf  iron  sternly,  as  on  a 
human  foe.  By  his  side  was  a  huge  hammer,  employed 
in  the  toils  of  his  forge ;  suddenly  he  seized  and  swung 
it  aloft.     One  blow,  and  the  labor  of  years  was  shattered 


THE   GOOD   OF   IT  309 

into  pieces !  One  blow  ! — But  the  heart  failed  him,  and 
the  hammer  fell  heavily  to  the  ground. 

"  Ay !"  he  muttered, "  true — true ;  if  thou,  who  hast  de- 
stroyed all  else,  wert  destroyed  too,  what  were  left  me  ? 
Is  it  a  crime  to  murder  Man? — a  greater  crime  to  murder 
Thought,  which  is  the  life  of  all  men.  Come — I  forgive 
thee !" 

And  all  that  day,  and  all  that  night,  the  Enthusiast 
labored  in  his  chamber,  and  the  next  day  the  remem- 
brance of  the  hootings,  the  pelting,  the  mob,  was  gone — 
clean  gone  from  his  breast.  The  Model  began  to  move — 
life  hovered  over  its  wheels,  and  the  Martyr  of  Science  had 
forgotten  the  very  world  for  which  he,  groaning  and  re- 
joicing, toiled  !  E.  Bulwer  Lytton. 


THE  GOOD  OF  IT. 
(a  cynic's  song.) 

SOME  men  strut  proudly,  all  purple  and  gold. 
Hiding  queer  deeds  'neath  a  cloak  of  good  fame ; 
I  creep  along  braving  hunger  and  cold 

To  keep  my  heart  stainless  as  well  as  my  name. 
So,  so,  where  is  the  good  of  it  ? 

Some  clothe  bare  Truth  in  fine  garments  of  words, 
Fetter  her  free  limbs  with  cumbersome  state. 

With  me,  let  me  sit  at  the  lordliest  boards, 

"  I  love  "  means,  I  love ;  and  "  I  hate  "  means,  I  hate. 
But,  but,  where  is  the  good  of  it  ? 

Some  have  rich  dainties  and  costly  attire. 

Guests  fluttering  round  them  and  duns  at  the  door. 

I  crouch  alone  at  my  plain  board  and  fire. 
Enjoy  what  I  pay  for  and  scorn  to  have  more. 
Yet,  yet,  what  is  the  good  of  it  ? 


310  ADVANCED    ELOCUTION 

Some  gather  round  them  a  phalanx  of  friends, 

Scattering  affection  like  coin  in  a  crowd. 
I  keep  my  heart  for  the  few  Heaven  sends, 

Where  they'll  find  my  name  writ  when  I  lie  in  my 
shroud. 

Still,  still,  where  is  the  good  of  it  ? 

Some  toy  with  love ;  lightly  come,  lightly  go ; 

A  blithe  game  at  hearts,  little  worth,  little  cost. 
I  staked  my  whole  soul  on  one  desperate  throw, 

A  life  'gainst  an  hour's  sport.    We  played  and  I  lost. 
Ha,  ha,  such  was  the  good  of  it ! 

MORAL,  ADDED  ON  HIS  DEATH-BED. 

Turn  the  past's  mirror  backward ;  its  shadows  removed. 
The  dim,  confused  mass  becomes  softened,  sublime ; 

I  have  worked,  I  have  felt,  I  have  lived,  I  have  loved. 
And  each  was  a  step  towards  the  goal  I  now  climb. 
Thou,  God,  Thou  sawest  the  good  of  it! 

Dinah  Mulock  Craik. 


THE  FORSAKEN  GARDEN. 

IN  a  coign  of  the  cliff,  between  lowland  and  highland. 
At  the  sea-down's  edge,  between  windward  and  lea, 
Wall'd  round  with  rocks  as  an  inland  island, 

The  ghost  of  a  garden  fronts  to  the  sea. 
A  girdle  of  brushwood  and  thorn  encloses 

The  steep,  square  slope  of  the  blossomless  bed, 
Where  the  weeds  that  grew  green  from  the  graves  of  its 
roses, 

Now  lie  dead. 


THE    FORSAKEN    GARDEN  311 

The  fields  fall  southward,  abrupt  and  broken, 
To  the  low,  last  edge  of  the  long  lone  land. 

If  a  step  should  sound,  or  a  word  be  spoken. 

Would  a  ghost  not  rise  at  the  strange  guest's  hand  ? 

So  long  have  the  gray,  bare  walks  lain  guestless. 
Through  branches  and  briars  if  a  man  make  way, 

He  shall  find  no  life  but  the  sea-wind's,  restless 
Night  and  day. 

The  dense,  hard  passage  is  blind  and  stifled, 
That  crawls  by  a  track  none  turn  to  climb 

To  the  strait,  waste  place  that  the  years  have  rifled 
Of  all  but  the  thorns  that  are  touched  not  of  time. 

The  thorns  he  spares  when  the  rose  is  taken ; 
The  rocks  are  left  when  he  wastes  the  plain. 

The  wind  that  wanders,  the  weeds  wind-shaken. 
These  remain. 

Not  a  flower  to  be  prest  of  the  foot  that  falls  not ; 

As  the  heart  of  a  dead  man  the  seed-plots  are  dry : 
From  the  thicket  of  thorns  whence  the  nightingale  calls  not, 

Could  she  call,  there  were  never  a  rose  to  reply. 
Over  the  meadows  that  blossom  and  wither 

Rings  but  the  note  of  the  sea-bird's  song : 
Only  the  sun  and  the  rain  come  hither 
All  year  long. 

The  sun  bums  sere  and  the  rain  dishevels 
One  gaunt,  bleak  blossom  of  scentless  breath ; 

Only  the  wind  hete  hovers  and  revels 

In  a  sound  where  life  seems  barren  as  death. 

Here  there  was  laughing  of  old,  there  was  weeping, 
Haply,  of  lovers  none  ever  will  know, 

Whose  eyes  went  seaward  a  hundred  sleeping 
Years  ago. 

^*  *p  'n  ^  ^h  •!• 


312    .  ADVANCED   ELOCUTION 

All  are  as  one  now,  roses  and  lovers, 

Not  known  of  the  cliffs  and  the  fields  and  the  sea. 
Not  a  breath  of  the  time  that  has  been,  hovers 

In  the  air  now  soft  of  a  summer  to  be. 
Not  a  breath  shall  there  sweeten  the  seasons  hereafter, 

Of  the  flowers  or  the  lovers  that  laugh  now  and  weep, 
When,  as  they  that  are  free  now  of  weeping  and  laughter, 
We  shall  sleep. 

Here  death  may  deal  not  again  forever : 

Here  change  may  come  not  till  all  change  end. 

From  the  graves  they  have  made  they  shall  rise  up  never, 
Who  have  left  nought  living  to  ravage  and  rend. 

Earth,  stones  and  thorns  of  the  wild-ground  growing. 
When  the  sun  and  the  rain  live,  these  shall  be 

Till  a  last  wind's  breath  upon  all  these  blowing 
Roll  the  sea. 

Till  the  slow  sea  rise  and  the  sheer  cliff  crum1)les. 

Till  terrace  and  meadow  the  deep  gulfs  drink. 
Till  the  strength  of  the  waves  of  the  high-tides  humble 

The  fields  that  lessen,  the  rocks  that  shrink. 
Here  now  in  his  triumph  when  all  things  falter ; 

Stretch'd  out  on  the  spoils  that  his  own  hand  spread. 
As  a  god  self-slain  on  his  own  strange  altar. 
Death  lies  dead. 

Algernon  Charles  Swinburne. 


THE  GOOD  SON. 

THERE  is  no  virtue  without  a  characteristic  beauty  to 
make  it  particularly  loved  of  the  good,  and  to  make  the 
bad  ashamed  of  their  neglect  of  it.  To  do  what  is  right, 
argues  superior  taste  as  well  as  morals ;  and  those  whose 
practice  is  evil  feel  an  inferiority  of  intellectual  power  and 
enjoyment,  even  where  they  take  no  concern  for  a  principle. 


THE    GOOD  SON  313 

Doing  well  has  something  more  in  it  than  the  fulfilling  of 
a  duty.  It  is  a  cause  of  a  just  sense  of  elevation  of  char- 
acter ;  it  clears  and  strengthens  the  spirits ;  it  gives  higher 
reaches  of  thought ;  it  widens  our  benevolence,  and  makes 
the  current  of  our  peculiar  affections  swift  and  deep. 

No  creature  in  the  world  has  this  character  so  finely 
marked  in  him  as  a  respectful  and  affectionate  son — par- 
ticularly in  his  relation  to  his  mother.  Every  little  atten- 
tion he  pays  her  is  not  only  an  expression  of  filial  attach- 
ment and  a  grateful  acknowledgment  of  past  cares,  but  is 
an  evidence  of  a  tenderness  of  disposition  which  moves 
us  the  more,  because  not  looked  on  so  much  as  an  essen- 
tial property  in  a  man's  character,  as  an  added  grace, 
which  is  bestowed  only  upon  a  few.  His  regards  do  not 
appear  like  mere  habits  of  duty,  nor  does  his  watchfulness 
of  his  mother's  wishes  seem  like  taught  submission  to  her 
win.  They  are  the  native  courtesies  of  a  feeling  mind,  show- 
ing themselves  amidst  stern  virtues  and  masculine  energies, 
like  gleams  of  light  on  points  of  rocks.  They  are  delight- 
ful as  evidences  of  power  yielding  voluntary  homage  to 
the  delicacy  of  the  soul.  The  armed  knee  is  bent,  and  the 
heart  of  the  mailed  man  laid  bare. 

Feelings  that  would  seem  to  be  at  variance  with  each 
other  meet  together  and  harmonize  in  tlie  breast  of  a  son. 
Every  call  of  the  mother  which  he  answers  to,  and  every 
act  of  submission  which  he  performs,  are  not  only  so 
many  acknowledgments  of  her  authority,  but  also  so 
many  instances  of  kindness  and  marks  of  protecting 
regard.  The  servant  and  defender,  the  child  and  guardian, 
are  all  mingled  in  him.  The  world  looks  on  him  in  this 
way ;  and  to  draw  upon  a  man  the  confidence,  the  respect, 
and  the  love  of  the  world,  it  is  enough  to  say  of  him,  he 
is  an  excellent  son. 

R.  H.  Dana. 


314  ADVANCED    ELOCUTION 


ANCIENT  GREEK  CHANT  OF  VICTORY. 

10 !  they  come,  they  come ! 
Garlands  for  every  shrine ! 
Strike  lyres  to  greet  them  home ; 
Bring  roses,  pour  ye  wine ! 

Swell,  swell  the  Dorian  flute 

Through  the  blue  triumphant  sky  ! 

Let  the  cittern's  tone  salute 
The  sons  of  victory. 

With  the  offering  of  bright  blood 

They  have  ransomed  hearth  and  tomb, 

Vineyard,  and  field,  and  flood ; 
lo  !  they  come,  they  come ! 

Sing  it  where  olives  wave. 

And  by  the  glittering  sea, 
And  o'er  each  hero's  grave — 

Sing,  sing,  the  land  is  free  I 

Mark  ye  the  flashing  oars. 

And  the  spears  that  light  the  deep  ? 
How  the  festal  sunshine  pours 

Where  the  lords  of  battle  sweep ! 

Each  hath  brought  back  his  shield ; — 

Maid,  greet  thy  lover  home ! 
Mother,  from  that  proud  field, 

lo  !  thy  son  is  come ! 

Who  murmured  of  the  dead  ? 

Hush,  boding  voice  !     We  know 
That  many  a  shining  head 

Lies  in  its  glory  low. 


BOB    CRATCHIT's   DINNER  315 

Breathe  not  those  names  to-day ! 

They  shall  have  their  praise  ere  long, 
And  a  power  all  hearts  to  sway, 

In  ever-burning  song. 

But  now  shed  flowers,  pour  wine, 

To  hail  the  conquerors  home ! 
Bring  wreaths  for  every  shrine — 

lo  I  they  come,  they  come ! 

Mrs.  Hemans. 


s 


BOB  CRATCHIT'S  DINNER. 

(An  extract  from  "  A  Christinas  Carol.") 

OON  the  steeples  called  good  people  all  to  church  and 
chapel,  and  away  they  came,  flocking  through  the 
streets  in  their  best  clothes  and  with  their  gayest  faces. 
And  at  the  same  time  there  emerged  from  scores  of  by- 
streets, lanes,  and  nameless  turnings  innumerable  people 
carrying  their  dinners  to  the  bakers'  shops. 

Up  then  rose  Mrs.  Cratchit,  Cratchit's  wife,  dressed  out 
but  poorly  in  a  twice-turned  gown,  but  brave  in  ribbons, 
which  are  cheap  and  make  a  goodly  show  for  sixpence ; 
and  she  laid  the  cloth,  assisted  by  Belinda  Cratchit,  second 
of  her  daughters,  also  brave  in  ribbons,  while  Master 
Peter  Cratchit  plunged  a  fork  into  the  saucepan  of  potatoes, 
and,  getting  the  corners  of  his  monstrous  shirt-collar 
(Bob's  private  property,  conferred  upon  his  son  and  heir 
in  honor  of  the  day)  into  his  mouth,  rejoiced  to  find  himself 
so  gallantly  attired,  and  yearned  to  show  his  linen  in  the 
fashionable  Parks.  And  now  two  smaller  Cratchits,  boy 
and  girl,  came  tearing  in,  screaming  that  outside  the 
baker's  they  had  smelt  the  goose  and  known  it  for  their 
own;  and,  basking  in  luxurious  thoughts  of  sage  and 
onion,  these  young  Cratchits  danced  about  the  table  and 


816  ADVANCED   ELOCUTION 

exalted  Master  Peter  Cratchit  to  the  skies,  while  he  (not 
proud,  although  his  collar  nearly  choked  him)  blew  the 
fire,  until  the  slow  potatoes,  bubbling  up,  knocked  loudly 
at  the  saucepan-lid  to  be  let  out  and  peeled. 

"  What  has  ever  got  your  precious  father  then  ?"  said 
Mrs.  Cratchit.  "  And  your  brother  Tiny  Tim  !  and  Martha 
warn't  as  late  last  Christmas  day  by  half  an  hour!" 

"  Here's  Martha,  mother,"  said  a  girl,  appearing  as  she 
spoke. 

"  Here's  Martha,  mother !"  cried  the  two  young  Cratchits. 
"  Hurrah !     There's  such  a  goose,  Martha !" 

"  Why,  bless  your  heart  alive,  my  dear,  how  late  you 
are !"  said  Mrs.  Cratchit,  kissing  her  a  dozen  times  and 
taking  off  her  shawl  and  bonnet  for  her. 

"  We'd  a  deal  of  work  to  finish  up  last  night,"  replied 
the  girl,  "  and  had  to  clear  away  this  morning,  mother !" 

"  Well !  Never  mind  so  long  as  you  are  come,"  said 
Mrs.  Cratchit.  "  Sit  ye  down  before  the  fire,  my  dear,  and 
have  a  warm.  Lord  bless  ye!" 

"  No,  no !  There's  father  coming,"  cried  the  two  young 
Cratchits,  who  were  everywhere  at  once.  "  Hide,  Martha, 
hide !" 

So  Martha  hid  herself,  and  in  came  little  Bob,  the  father, 
with  at  least  three  feet  of  comforter,  exclusive  of  the  fringe, 
hanging  down  before  him ;  and  his  threadbare  clothes 
darned  up  and  brushed,  to  look  seasonable ;  and  Tiny  Tim 
upon  his  shoulder.  Alas  for  Tiny  Tim,  he  bore  a  little 
crutch,  and  had  his  limbs  supported  by  an  iron  frame  ! 

"  Why,  Where's  our  Martha  ?"  cried  Bob  Cratchit,  look- 
ing round. 

"  Not  coming,"  said  Mrs.  Cratchitt. 

"  Not  coming  !"  said  Bob,  with  a  sudden  declension  in 
his  high  spirits ;  for  he  had  been  Tim's  blood-horse  all 
the  way  from  church,  and  had  come  home  rampant — "  not 
coming  upon  Christmas  day  !" 


317 

Martha  didn't  like  to  see  him  disappointed,  if  it  were 
only  in  joke ;  so  she  came  out  prematurely  from  behind 
the  closet  door,  and  ran  into  his  arms,  while  the  two 
young  Cratchits  hustled  Tiny  Tim,  and  bore  him  off  into 
the  wash-house,  that  he  might  hear  the  pudding  singing 
in  the  copper. 

"  And  how  did  little  Tim  behave  ?"  asked  Mrs.  Cratchit, 
when  she  had  rallied  Bob  on  his  credulity  and  Bob  had 
hugged  his  daughter  to  his  heart's  content. 

"  As  good  as  gold,"  said  Bob,  "  and  better.  Somehow 
he  gets  thoughtful,  sitting  by  himself  so  much,  and  thinks 
the  strangest  things  you  ever  heard.  He  told  me,  coming 
home,  that  he  hoped  the  people  saw  him  in  the  church, 
because  he  was  a  cripple,  and  it  might  be  pleasant  to  them 
to  remember,  on  Christmas  day,  who  made  lame  beggars 
walk  and  blind  men  see." 

Bob's  voice  was  tremulous  when  he  told  them  this,  and 
trembled  more  when  he  said  that  Tiny  Tim  was  growing 
strong  and  hearty. 

His  active  little  crutch  was  heard  upon  the  floor,  and 
back  came  Tiny  Tim  before  another  word  was  spoken, 
escorted  by  his  brother  and  sister,  to  his  stool  beside  the 
fire ;  and  while  Bob,  turning  up  his  cuffs, — as  if,  poor  fel- 
low, they  were  capable  of  being  made  more  shabby, — com- 
pounded some  hot  mixture  in  a  jug  with  gin  and  lemons, 
and  stirred  it  round  and  round  and  put  it  on  the  hob  to 
simmer.  Master  Peter  and  the  two  ubiquitous  young 
Cratchits  went  to  fetch  the  goose,  with  which  they  soon 
returned  in  high  procession. 

Mrs.  Cratchit  made  the  gravy  (ready  beforehand  in  a 
little  saucepan)  hissing  hot;  Master  Peter  mashed  the 
potatoes  with  incredible  vigor ;  Miss  Belinda  sweetened  up 
the  apple-sauce ;  Martha  dusted  the  hot  plates ;  Bob  took 
Tiny  Tim  beside  him  in  a  tiny  corner  at  the  table ;  the 
two  young  Cratchits  set  chairs  for  everybody,  not  forget- 


318  ADVANCED    ELOCUTION 

ting  themselves,  and,  mounting  guard  upon  their  posts, 
crammed  spoons  into  their  mouths,  lest  they  should  shriek 
for  goose  before  their  turn  came  to  be  helped.  At  last 
the  dishes  were  set  on  and  grace  was  said.  It  was  suc- 
ceeded by  a  breathless  pause,  as  Mrs.  Cratchit,  looking 
slowly  all  along  the  carving-knife,  prepared  to  plunge  it  into 
the  breast ;  but  when  she  did,  and  when  the  long-expected 
gush  of  stuffing  issued  forth,  one  murmur  of  delight  arose 
all  round  the  board,  and  even  Tiny  Tim,  excited  by  the 
two  young  Cratchits,  beat  on  the  table  with  the  handle  of 
his  knife,  and  feebly  cried.  Hurrah  ! 

There  never  was  such  a  goose.  Bob  said  he  didn't  be- 
lieve there  ever  was  such  a  goose  cooked.  Its  tenderness 
and  flavor,  size  and  cheapness,  were  the  themes  of  univer- 
sal admiration.  Eked  out  by  apple-sauce  and  mashed 
potatoes,  it  was  a  sufficient  dinner  for  the  whole  family ; 
indeed,  as  Mrs.  Cratchit  said  with  great  delight  (surveying 
one  small  atom  of  a  bone  upon  the  dish),  they  hadn't  ate 
it  all  at  last !  Yet  every  one  had  had  enough,  and  the 
youngest  Cratchits  in  particular  were  steeped  in  sage  and 
onion  to  the  eyebrows !  But  now,  the  plates  being  changed 
by  Miss  Belinda,  Mrs.  Cratchit  left  the  room  alone — too 
nervous  to  bear  witnesses — to  take  the  pudding  up  and 
bring  it  in. 

Suppose  it  should  not  be  done  enough !  Suppose  it 
should  break  in  turning  out !  Suppose  somebody  should 
have  got  over  the  wall  of  the  back  yard  and  stolen  it 
while  they  were  merry  with  the  goose — a  supposition  at 
which  the  two  young  Cratchits  became  livid !  All  sorts 
of  horrors  were  supposed. 

Hallo !  A  great  deal  of  steam  !  The  pudding  was  out 
of  the  copper.  A  smell  like  a  washing-day !  That  was 
the  cloth.  A  smell  like  an  eating-house  and  a  pastr}''- 
cook's  next  door  to  each  other,  with  a  laundress's  next 
door  to  that !    That  was  the  pudding  1     In  half  a  minute 


319 

Mrs.  Cratchit  entered — flushed,  but  smiling  proudly — 
with  the  pudding,  like  a  speckled  cannon-ball,  so  hard 
and  firm,  blazing  in  half  of  half  a  quartern  of  ignited 
brandy,  and  bedight  with  Christmas  holly  stuck  into  the 
top. 

0,  a  wonderful  pudding!  Bob  Cratchit  said,  and 
calmly  too,  that  he  regarded  it  as  the  greatest  success 
achieved  by  Mrs.  Cratchit  since  their  marriage.  Mrs. 
Cratcliit  said  that,  now  the  weight  was  off  her  mind,  she 
would  confess  she  had  had  her  doubts  about  the  quantity 
of  flour.  Everybody  had  something  to  say  about  it,  but 
nobody  said  or  thought  it  w^as  at  all  a  small  pudding  for  a 
large  family.  Any  Cratchit  would  have  blushed  to  hint 
at  such  a  thing. 

At  last  the  dinner  was  all  done,  the  cloth  was  cleared, 
the  hearth  swept,  and  the  fire  made  up.  The  compound 
in  the  jug  being  tasted  and  considered  perfect,  apples  and 
oranges  were  put  upon  the  table  and  a  shovelful  of  chest- 
nuts on  the  fire. 

Then  all  the  Cratchit  family  drew  round  the  hearth,  in 
what  Bob  Cratchit  called  a  circle,  and  at  Bob  Cratchit's 
elbow  stood  the  family  display  of  glass — two  tumblers  and 
a  custard-cup  without  a  handle. 

These  held  the  hot  stuff  from  the  jug,  however,  as  well 
as  golden  goblets  would  have  done ;  and  Bob  served  it 
out  with  beaming  looks,  while  the  chestnuts  on  the  fire 
sputtered  and  crackled  noisily.     Then  Bob  proposed : — 

"A  merry  Christmas  to  us  all,  my  dears.  God  bless 
us!" 

Which  all  the  family  re-echoed. 

"  God  bless  us  every  one !"  said  Tiny  Tim,  the  last  of  all. 

Charles  Dickens. 


320  ADVANCED    ELOCUTION 


SUNRISE. 


MUCH,  however,  as  we  are  indebted  to  our  observatories 
for  elevating  our  conceptions  of  the  heavenly  bodies, 
they  present  even  to  the  unaided  sight,  scenes  of  glory  which 
words  are  too  feeble  to  describe.  I  had  occasion,  a  few 
weeks  since,  to  take  the  early  train  from  Providence  to 
Boston ;  and  for  this  purpose  rose  at  two  o'clock  in  the 
morning.  Everything  around  was  wrapt  in  darkness  and 
hushed  in  silence,  broken  only  by  what  seemed  at  that 
hour  the  unearthly  clank  and  rush  of  the  train.  It  was  a 
mild,  serene,  midsummer's  night — the  sky  was  without  a 
cloud — the  winds  were  whist.  The  moon,  then  in  the  last 
quarter,  had  just  risen,  and  the  stars  shone  with  a  spectral 
lustre,  but  little  affected  by  her  presence.  Jupiter,  two 
hours  high,  was  the  herald  of  the  day  ;  the  Pleiades,  just 
above  the  horizon,  shed  their  sweet  influence  in  the  east ; 
Lyra  sparkled  near  the  zenith ;  Andromeda  veiled  her 
newly-discovered  glories  from  the  naked  ^  eye,  in  the 
south ;  the  steady  pointers,  far  beneath  the  pole,  looked 
meekly  up  from  the  depths  of  the  north,  to  their  sov- 
ereign. 

Such  was  the  glorious  spectacle  as  I  entered  the  train. 
As  we  proceeded,  the  timid  approach  of  twilight  became 
more  perceptible ;  the  intense  blue  of  the  sky  began  to 
soften  ;  the  smaller  stars,  like  little  children,  went  first  to 
rest;  the  sister  beams  of  the  Pleiades  soon  melted  to- 
gether; but  the  bright  constellations  of  the  west  and 
north  remained  unchanged.  Steadily  the  wondrous  trans- 
figuration went  on.  Hands  of  angels,  hidden  from  mortal 
eyes,  shifted  the  scenery  of  the  heavens ;  the  glories  of 
night  dissolved  into  the  glories  of  the  dawn.  The  blue 
sky  now  turned  more  softly  gray ;  the  great  watch-stars 
shut  up  their  holy  eyes ;    the  east  began  to  kindle.    Faint 


THE   SHADOW   OF   THE   CROSS  321 

streaks  of  purple  soon  blushed  along  the  sky ;  the  whole 
celestial  concave  was  filled  with  the  inflowing  tides  of  the 
morning  light,  which  came  pouring  down  from  above  in 
one  great  ocean  of  radiance ;  till  at  length,  as  we  reached 
the  Blue  Hills,  a  flash  of  purple  fire  blazed  out  from  above 
the  horizon,  and  turned  the  dewy  tear-drops  of  flower  and 
leaf  into  rubies  and  diamonds.  In  a  few  seconds,  the 
everlasting  gates  of  the  morning  were  thrown  wide  open, 
and  the  lord  of  day,  arrayed  in  glories  too  severe  for  the 
gaze  of  man,  began  his  state. 

I  do  not  wonder  at  the  superstition  of  the  ancient 
Magians,  who  in  the  morning  of  the  world  went  up  to  the 
hill-tops  of  Central  Asia,  and,  ignorant  of  the  true  God, 
adored  the  most  glorious  work  of  His  hand.  But  I  am 
filled  with  amazement  when  I  am  told  that  in  this  enlight- 
ened age,  and  in  the  heart  of  the  Christian  world,  there 
are  persons  who  can  witness  this  dail}^  manifestation  of 
the  power  and  wisdom  of  the  Creator,  and  yet  say  in  their 
hearts,  "  there  is  no  God."  Edward  Everett. 


THE  SHADOW  OF  THE  CROSS. 

(Abridged.) 

(Suggested  from  the  well-known  picture  of  Mr.  Holman  Hunt,  in  which  the 
uplifted  form  of  Christ,  resting  with  extended  arms  from  His  labor  in  the  car- 
penter's shop  at  Nazareth,  throws  upon  the  wall  of  the  Virgin's  house  a  figure  ox 
a  Cross.) 

LIGHT  and  Shadow !     Shadow  and  Light ! 
Twins  that  were  born  at  the  birth  of  the  sun ! 
One  the  secret  of  all  things  bright ; 
The  secret  of  all  things  sombre,  one. 

One  the  joy  of  the  radiant  day  ; 

One  the  spell  of  the  dolorous  night : 
One  at  the  dew-fall  bearing  sway ; 

One  at  the  day-break,  rosy  and  white. 
21 


322  ADVANCED    EIX>CCT10N 

Sister  and  brother,  bom  of  one  mother, 
Made  of  a  thought  of  the  Infinite  One, 

Made  by  the  wisdom  of  God — and  none  other— 
In  times  when  the  times  were  not  b^on. 

One  with  the  morning  star  for  its  gem, 
Glad  Eiisphorus,  herald  of  beams ; 

One  that  wears  for  its  diadem 

Pale,  sad  Hesperus,  phmet  of  dreams. 

One  for  the  glory  and  one  for  the  gloom ; 

One  to  show  forth  and  one  to  shroud ; 
One  for  the  birth  and  one  for  the  tomb ; 

One  for  the  clear  sky  and  one  for  the  cloud. 

Sister  and  brother,  for  ever  and  ever. 
Nowise  disparted,  and  nowhere  a-twain ; 

Mysteries  no  man's  thinking  shall  sever ; 
Marvels  none  can  miss  or  explain. 

Light,  which  without  a  shadow  shines  not ! 

Shadow,  which  shows  not  unless  by  light ! 
(For  that  which  we  see  to  sight  combines  not. 

Except  by  the  sides  that  escape  the  sight.) 

Is  this  the  parable?  this  the  ending? 

That  nothing  lives  for  us  unless  with  a  foil ; 
That  all  things  show  by  contrast  and  blending — 

Pleasure  by  Pain,  and  Rest  by  Toil  ? 

Strength  by  Weakness,  and  Gladness  by  Sorrow ; 

Hope  by  Despair,  and  Peace  by  Strife ; 
The  Good  by  the  Evil,  the  Day  by  the  Morrow ; 

Love  by  Hatred,  and  Death  by  Life  ? 


THE  SHADOW  OF  THE  CBOSB  323 

Far  off— worlds  off — in  the  Pleiads  seven 

Is  a  Star  of  Stars — Alcyone — 
The  orb  which  moves  never  in  all  the  Heaven 

The  centre  of  all  sweet  Light  we  see. 

And  there,  thou  Shadow  of  Earth's  pale  seeming ! 

The  wisest  say  no  shadow  can  be, 
But  perfect  spjlendors,  lucidly  streaming. 

And  Life  and  Light  at  intensity. 

Then  why  did  the  artist  show  it  thus — 
The  Sorrow  of  Sorrows  personified — 

Painting  the  carpenter's  Son  for  us 

And  the  Shadow  behind  of  the  Crucified  ? 

Meek  and  sweet  in  the  sun  He  stands. 
Drinking  the  air  of  His  Syrian  skies ; 

Lifting  to  heaven  toil-wearied  hands. 

Seeing  "  His  Father  "  with  those  mild  eyes ; 

Gazing  from  trestle  and  bench  and  saw, 
To  the  Kingdom  kept  for  His  rule  above. 

O  Christ,  the  Lord !  we  see  with  awe ! 
Ah !  Joseph's  Son !  we  look  with  love ! 

Ah !  Mary  Mother !  we  watch  with  moans 
Marking  that  phantom  thy  sweet  eyes  see, 

That  hateful  Shadow  upon  the  stones, 
That  sign  of  a  coming  agony ! 

Did  it  happen  so  once  in  Nazareth  ? 

Did  a  Christmas  sun  show  such  a  sight, 
Making  from  Life  a  spectre  of  Death, 

Mocking  our  "  Light  of  the  World  "  with  Light? 


324  ADVANCED    ELOCUTION 

He  tells  us — this  artist — one  Christmas-tide, 

The  sunset  painted  that  ominous  Cross ; 
The  shadows  of  evening  prophesied 

The  hyssop  to  Him,  and  to  us  the  loss. 

For,  her  pang  is  the  pang  of  us,  every  one : 
Wherever  the  Light  shines  the  Shadow  is ; 

Where  beams  a  smile  must  be  heard  a  moan ; 
The  anguish  follows  the  flying  bliss. 

Yon  crown  which  the  Magi  brought  to  her, 

It  makes  a  vision  of  brows  that  bleed ; 
Yon  censer  of  spikenard  and  balm  and  myrrh, 

It  looks  on  the  wall  like  a  "  sponge  and  reed." 

And,  therefore,  long  ago  was  it  written — 

Of  a  Christmas  to  come  in  the  realms  of  Light — - 

"  The  curse  shall  depart  and  death  shall  be  smitten, 
And  then  there  shall  be  no  more  night." 

O  Christ,  our  Lord,  in  that  Shadowless  Land, 
Be  mindful  of  these  sad  shadows  which  lie ! 

Look  forth  and  mark  what  a  woful  band  < 

Of  glooms  attend  us  across  Thy  sky  !  J 

"  Christmas !"  and  hear  what  wars  and  woe ! 

"  Christmas !"  and  see  what  grief  o'er  all ! 
Lord  Christ !  our  suns  shine  out  to  show 

Crosses  and  thorns  on  Time's  old  wall !  ^ 

So,  if  Thou  art  where  that  star  gleams,  \ 

Alcyone,  or  higher  still. 
Send  down  one  blessed  ray  which  beams 

Free  of  all  shadows — for  they  kill. 

Edwin  Arnold. 


1 


UTILIZING    OUR   FAILURES  325 

UTILIZING  OUR  FAILURES. 

Permission  of  "  The  Outlook,"  New  York, 

EVERY  man  or  woman  who  feels  the  responsibility  of 
making  the  best  use  of  opportunities,  and  who  has 
high  standards  of  work,  feels  at  times  a  great  depression 
from  a  sense  of  falling  below  the  level  of  occasions  and  of 
doing  the  worst  when  the  occasion  called  for  the  best.  It 
happens  very  often  to  such  persons  that,  after  the  most 
thorough  preparation,  the  performance  falls  lamentably 
below  the  aim  and  leaves  behind  it  a  sense  of  utter  disap- 
pointment. This  humiliation  of  spirit,  which  is  the  lot  at 
times  of  all  sensitive  people  who  care  more  for  their  work 
than  for  themselves,  may  either  become  a  source  of  weak- 
ness or  a  source  of  strength.  It  is  the  evidence  of  the 
divine  possibilities  of  life  that  the  defeats  of  to-day  may  be 
made  the  forerunners  of  the  victories  of  to-morrow,  and 
that  the  consciousness  of  failure  may  become  in  itself  a 
new  element  of  success.  It  was  said  of  Peter  the  Great 
that  he  learned  the  art  of  war  at  the  hand  of  his  enemies, 
and  that  he  was  taught  how  to  win  victories  by  suffering  a 
long  and  discouraging  series  of  defeats.  To  say  this  of  a 
man  is  to  pay  him  the  very  highest  tribute.  As  a  student 
in  the  great  school  of  life,  it  is  to  credit  him  with  that 
openness  of  mind,  that  forgetfulness  of  self,  and  that  ab- 
sence of  personal  vanity  which  characterize  the  true 
learner  in  any  field.  For  failure,  if  it  comes  through  no 
fault  of  our  own,  drives  us  back  upon  our  hold  on  ultimate 
aims.  It  makes  us  aware  how  variable  and  uncertain  is 
our  own  strength,  and  it  teaches  us  to  rely,  not  upon  our- 
selves, but  upon  the  greatness  of  the  things  with  which  we 
identify  ourselves.  A  great  object  persistently  pursued 
has  power  to  unfold  a  noble  out  of  a  very  commonplace 
man  or  woman,  and  to  develop  an  almost  unsuspected 


326  ADVANCED    ELOCUTION 

strength  out  of  a  mass  of  weakness.     The  shocks  to  our 

pride  drive  us  out  of  ourselves  into  the  greatness  of  the 

causes  which  we  espouse ;  and  the  defeats  which  we  suffer, 

if  we  take  them  aright,  confirm  us  in  our  loyalty  to  the 

things  for  which  we  fight.     It  is  painful  to  fail  when  we 

have  made  every  preparation  to  succeed  ;  it  is  humiliating 

to  produce  an  impression  of  weakness  when  we  wish  to 

make  an  impression  of  strength ;  but  the  supreme  thing 

in  life  is  to  get  our  work  done  and  to  make  the  truth  which 

we  love  prevail ;  and  if  the  discipline  of  failure  can  be 

made  to  work  for  this  end,  it  is  a  discipline  neither  to  be 

dreaded  nor  to  be  avoided. 

Lyman  Abbott. 


.» 


0-U-G-H. 

I'M  taught  p-1-o-u-g-h 

Shall  be  pronounce  "  plow 
*  Zat's  easy  wen  you  know,"  I  say ; 
"  Mon  Anglais  I'll  get  through." 

My  teacher  say  zat  in  zat  case 

0-u-g-h  is  "  00." 
And  zen  I  laugh  and  say  to  him, 
"  Zees  Anglais  makes  me  cough." 

He  say,  "  Not  coo,  but  in  zat  word 

0-u-g-h  is  '  off.'  " 
Oh !  sacre  bleu !  such  varied  sounds 

Of  words  make  me  hiccough ! 

He  say,  "  Again,  mon  friend  ees  wrong  1 

0-u-g-h  is  *  up  ' 
In  hiccough."     Zen  I  cry,  "  No  more! 

You  make  my  throat  feel  rough." 


DESTRUCTION   OF   POMPEII  327 

"  Non !  non !"  he  cry,  "  you  are  not  right — 
0-u-g-h  is  '  uff.'  " 
I  say,  "I  try  to  speak  your  words, 
I  can't  prononz  them,  though !" 

"  In  time  you'll  learn,  but  now  you're  wrong, 

0-u-g-h  is  *  owe.'  " 
"  I'll  try  no  more.     I  sail  go  mad — ■ 

I'll  drown  me  in  ze  lough !" 

"  But  ere  you  drown  yourself,"  said  he, 
"  0-u-g-h  is  '  ock." 
He  taught  no  more !     I  held  him  fast ! 
And  killed  him  wiz  a  rough ! 

Charles  B.  Loomis. 


DESTRUCTION  OF  POMPEII. 

(From  "  Last  Days  of  Pompeii.") 

THE  cloud,  which  had  scattered  so  deep  a  murkiness 
over  the  day,  had  now  settled  into  a  solid  and  im- 
penetrable mass.  It  resembled  less  even  the  thickest  gloom 
of  a  night  in  the  open  air  than  the  close  and  blind  darkness 
of  some  narrow  room.  But  in  proportion  as  the  blackness 
gathered,  did  the  lightnings  around  Vesuvius  increase  in 
their  vivid  and  scorching  glare.  Nor  was  their  horrible 
beauty  confined  to  the  usual  hues  of  fire ;  no  rainbow 
ever  rivalled  their  varying  and  prodigal  dyes.  Now 
brightly  blue  as  the  most  azure  depth  of  a  southern  sky — 
now  of  a  livid  and  snake-like  green,  darting  restlessly  to 
and  fro  as  the  folds  of  an  enormous  serpent — now  of  a 
lurid  and  intolerable  crimson,  gushing  forth  through  the 
columns  of  smoke,  far  and  wide,  and  lighting  up  the  whole 
city  from  arch  to  arch — then  suddenly  dying  into  a  sickly 
paleness,  like  the  ghost  of  their  own  life ! 


330  ADVANCED    ELOCUTION 

The  groans  of  the  dying  were  broken  by  wild  shrieks  of 
women's  terror — now  near,  now  distant — which,  when 
heard  in  the  utter  darkness,  were  rendered  doubly  appalling 
by  the  crushing  sense  of  helplessness  and  the  uncertainty 
of  the  perils  around ;  and  clear  and  distinct  through  all 
were  the  mighty  and  various  noises  from  the  Fatal  Moun- 
tain ;  its  rushing  winds ;  its  whirling  torrents  ;  and,  from 
time  to  time,  the  burst  and  roar  of  some  more  fiery  and  fierce 
explosion.  And  ever  as  the  winds  swept  howling  along 
the  street,  they  bore  sharp  streams  of  burning  dust,  and 
such  sickening  and  poisonous  vapors,  as  took  away,  for 
the  instant,  breath  and  consciousness,  followed  by  a  rapid 
revulsion  of  the  arrested  blood,  and  a  tingling  sensation 
of  agony  trembling  through  every  nerve  and  fibre  of  the 
frame. 

Suddenly  the  place  became  lighted  with  an  intense  and 
lurid  glow.  Bright  and  gigantic  through  the  darkness, 
which  closed  around  it  like  the  walls  of  hell,  the  mountain 
shone — a  pile  of  fire !  Its  summit  seemed  riven  in  two ; 
or  rather,  above  its  surface  there  seemed  to  rise  two  mon- 
ster shapes,  each  confronting  each,  as  Demons  contending 
for  a  World.  These  were  of  one  deep  blood-red  hue  of 
fire,  which  lighted  up  the  whole  atmosphere  far  and  wide ; 
but  below,  the  nether  part  of  the  mountain  was  still  dark 
and  shrouded,  save  in  three  places,  adown  which  flowed, 
serpentine  and  irregular,  rivers  of  the  molten  lava.  Darkly 
red  through  the  profound  gloom  of  their  banks,  they 
flowed  slowly  on  as  toward  the  devoted  city.  Over  the 
broadest  there  seemed  to  spring  a  cragged  and  stupendous 
arch,  from  which,  as  from  the  jaws  of  hell,  gushed  the 
sources  of  the  sudden  Phlegethon.  And  through  the 
stilled  air  was  heard  the  rattling  of  the  fragments  of  rock, 
hurtling  one  upon  another  as  they  were  borne  down  the 
fiery  cataracts— darkening,  for  one  instant,  the  spot  where 


DESTRUCTION   OF   POMPEII  331 

they  fell,  and  suffused  the  next,  in  the  burnished  hues  of 
the  flood  along  which  they  floated ! 

ife  ^!>  v|^  >lj  *1^  "^fLf 

But  suddenly  a  duller  shake  fell  over  the  air,  and  be- 
hold !  one  of  the  two  gigantic  crests,  into  which  the  sum- 
mit had  been  divided,  rocked  and  wavered  to  and  fro ; 
and  then,  with  a  sound,  the  mightiness  of  which  no 
language  can  describe,  it  fell  from  its  burning  base,  and 
rushed,  an  avalanche  of  fire,  down  the  sides  of  the  moun- 
tain! At  the  same  instant  gushed  forth  a  volume  of 
blackest  smoke — rolling  on,  over  air,  sea,  and  earth. 

Another — and  another — and  another  shower  of  ashes, 
far  more  profuse  than  before,  scattered  fresh  desolation 
along  the  streets.  Darkness  once  more  fell  upon  the 
earth. 

sl^  ^t>  ^1^  ^1^  ^1>  ^1> 

Meekly,  softly,  beautifully,  dawned  at  last  the  light  over 
the  trembling  deep  ! — the  winds  were  sinking  into  rest — 
the  foam  died  from  the  glowing  azure  of  that  delicious 
sea.  Around  the  east,  thin  mists  caught  gradually  the 
rosy  hues  that  heralded  the  morning;  Light  was  about  to 
resume  her  reign.  Yet,  still,  dark  and  massive  in  the 
distance,  lay  the  broken  fragments  of  the  destroying  cloud, 
from  which  red  streaks,  burning  dimlier  and  more  dim, 
betrayed  the  yet  rolling  fires  of  the  mountain  of  the 
"  Scorched  Fields."  The  white  walls  and  gleaming 
columns  that  had  adorned  the  lovely  coasts  were  no  more. 
Sullen  and  dull  were  the  shores  so  lately  crested  by  the 
cities  of  Herculaneum  and  Pompeii.  Century  after  cen- 
tury shall  the  mighty  Sea  stretch  forth  her  azure  arms, 
and  know  them  not — moaning  round  the  sepulchres  of 
the  Lostl 

E.  BuLWEE  Lytton. 


332  ADVANCED    ELOCUTION 

KNEE-DEEP  IN  JUNE. 

Permission  of  The  Bowen-Merrill  Company,  Indianapolis,  In<L 

TELL  you  what  I  like  the  best— 
'Long  about  knee-deep  in  June, 
^Bout  the  time  strawberries  melts 
On  the  vine, — some  afternoon 
Like  to  jcs'  git  out  and  rest, 
And  not  work  at  nothin'  else ! 

Orchard's  where  I'd  ruther  be — 
Needn't  fence  it  in  fer  me  I 
Jes'  the  whole  sky  ov^rnead. 

And  the  whole  airth  underneath — 
Sorto'  so's  a  man  kin  breathe 
Like  he  ort,  and  kindo'  has 
Elbow-room  to  keerlessly 

Sprawl  out  lengthways  on  the  grass 

Where  the  shadders  thick  and  soft 
As  the  kivvers  on  the  bed 
Mother  fixes  in  the  loft 
Alius,  when  they's  company  I 

Jes'  a  sorto'  lazein'  there — 
S'lazy,  'at  you  peek  and  peer 

Through  the  wavin'  leaves  above, 

Like  a  feller  'ats  in  love 
And  don't  know  it,  ner  don't  keerl 
Ever'thing  you  hear  and  see 

Got  some  sort  o'  interest — 

Maybe  find  a  bluebird's  nest 
Tucked  up  there  conveenently 
Fer  the  boys  'ats  apt  to  be 
Up  some  other  apple-tree ! 


KNEE-DEEP  IN  JUNE  333 

Watch  the  swallers  skootin'  past 
'Bout  as  peert  as  you  could  ast ; 

Er  the  Bob  white  raise  and  whiz 

Where  some  other's  whistle  is. 

Ketch  a  shadder  down  below,  y 

And  look  up  to  find  the  crow ; 
Er  a  hawk  away  up  there, 
'Pearantly  froze  in  the  air ! 

Hear  the  old  hen  squawk,  and  squat 

Over  every  chick  she's  got, 
Suddent-like  1 — And  she  knows  where 

That-air  hawk  is,  well  as  you  I 

You  jes'  bet  yer  life  she  do  I 
Eyes  a-glitterin'  like  glass, 
Waitin'  till  he  makes  a  pass ! 

Pee-wees'  singin',  to  express 

My  opinion's  second  class, 

Yit  you'll  hear  'em  more  er  less ; 

Sapsucks  gittin'  down  to  biz, 
Weedin'  out  the  lonesomeness ; 
Mr.  Bluejay,  full  o'  sass. 

In  them  base-ball  clothes  o'  his, 
Sportin'  'round  the  orchard  jes' 
Like  he  owned  the  premises  I 

Sun  out  in  the  fields  kin  sizz, 
But  flat  on  yer  back,  I  guess, 

In  the  shade's  where  glory  is ! 
That's  jes'  what  I'd  like  to  do 
Stiddy  fer  a  year  er  two  I 

Plague  I  ef  they  aint  sompin'  in 
Work  'at  kindo'  goes  ag'in 
My  convictions  I — 'long  about 


334  ADVANCED    ELOCUTION 

Here  in  June  especially ! — 
Under  some  old  apple-tree, 

Jes'  a-restin'  through  and  through, 
T  could  git  along  without 
Nothin'  else  at  all  to  do 
Only  jes'  a-wishin'  you 
Was  a-gittin'  there  like  me, 
And  June  was  eternity  I 

Lay  out  there  and  try  to  see 
Jes'  how  lazy  you  kin  be ! — 

Tumble  round  and  souse  yer  head 
In  the  clover-bloom,  er  pull 

Yer  straw  hat  acrost  yer  eyes, 
And  peek  through  it  at  the  skies, 
Thinkin'  of  old  chums  'ats  dead. 
Maybe,  smilin'  back  at  you 
In  betwixt  the  beautiful 

Clouds  o'  gold  and  white  and  blue  I 
Month  a  man  kin  railly  love — 
June,  you  know,  I'm  talkin'  of! 

March  aint  never  nothin'  new  I 
April's  altogether  too 

Brash  fer  me  !  and  May — I  jef' 
'Bominate  its  promises, — 
Little  hints  o'  sunshine  and 
Green  around  the  timber-land — 
A  few  blossoms,  and  a  few 
Chip-birds,  and  a  sprout  er  two — 
Drap  asleep,  and  it  turns  in 
'Fore  daylight  and  snows  agin ! 
But  when  June  comes — Clear  my  throat 

With  wild  honey !     Hench  my  hair 
In  the  dew !  and  hold  my  coat  1 


i 


DANGERS  TO   OUR   REPUBLIC  335 

Whoop  out  loud !  and  throw  my  hat  I 
June  wants  me,  and  I'm  to  spare  ! 
Spread  them  shadders  anywhere, 
I'll  git  down  and  waller  there, 

And  obleeged  to  you  at  that ! 

James  Whitcomb  Riley. 


DANGERS  TO  OUR  REPUBLIC. 

WHO  are  this  host  of  voters  crowding  to  use  the  free- 
man's right  at  the  ballot-box  ?  In  all  the  dread 
catalogue  of  mortal  sins  there  is  not  one  but,  in  that 
host  of  voters,  there  are  hearts  that  have  willed  and  hands 
that  have  perpetrated  it. 

The  gallows  has  spared  its  victims,  the  prison  has  re- 
leased its  tenants  ;  from  dark  cells,  where  malice  had 
brooded,  where  revenge  and  robbery  had  held  their  nightly 
rehearsals,  the  leprous  multitude  is  disgorged  and  comes 
up  to  the  ballot-box  to  foredoom  the  destinies  of  this 
nation. 

But  look  again,  at  that  deep  and  dense  array  of  igno- 
rance, whose  limits  the  eye  cannot  discover.  Its  van 
leans  against  us  here,  its  rear  is  beyond  the  distant  hills. 
They,  too,  in  this  hour  of  their  country's  peril,  have  come 
up  to  turn  the  folly  of  which  they  are  not  conscious  into 
measures  which  they  cannot  understand  by  votes  which 
they  cannot  read.  Nay,  more,  and  worse !  for,  from  the 
ranks  of  crime  emissaries  are  sallying  forth  toward  the 
ranks  of  ignorance,  shouting  the  war-cries  of  faction,  and 
flaunting  banners  with  lying  symbols,  such  as  cheat  the 
eye  of  a  mindless  brain  ;  and  thus  the  hosts  of  crime  are 
to  lead  on  the  hosts  of  ignorance  in  their  assault  upon 
Liberty  and  Law ! 

What  now  shall  be  done  to  save  the  citadel  of  freedom, 


336  ADVANCED   ELOCUTION 

where  are  treasured  all  the  hopes  of  posterity  ?  Or,  if  we 
can  survive  the  peril  of  such  a  day,  what  shall  be  done  to 
prevent  the  next  generation  from  sending  forth  still  more 
numerous  hordes,  afflicted  with  deeper  blindness  and  in- 
cited by  darker  depravity  ? 

Are  there  any  here  who  would  counsel  us  to  save  the 
people  from  themselves  by  wresting  from  their  hands  this 
formidable  right  of  ballot?  Better  for  the  man  who 
would  propose  this  remedy  to  an  infuriated  multitude 
that  he  should  stand  in  the  lightning's  path  as  it  descends 
from  heaven  to  earth. 

And  answer  me  this  question,  you  who  would  re-conquer 
for  the  few  the  power  which  has  been  won  by  the  many — 
you  who  would  disfranchise  the  common  mass  of  man- 
kind, and  re-condemn  them  to  become  helots  and  bondmen 
and  feudal  serfs — tell  me,  were  they  again  in  the  power  of 
your  castes,  would  you  not  again  neglect  them,  again  op- 
press them,  again  make  them  slaves  ? 

Better  that  these  blind  Samsons,  in  the  wantonness  of 
their  gigantic  strength,  should  tear  down  the  pillars  of  the 
Republic,  than  that  the  great  lesson  which  Heaven,  for  six 
thousand  years,  has  been  teaching  to  the  world  should  be 
lost  upon  it — the  lesson  that  the  intellectual  and  moral 
nature  of  man  is  the  one  thing  precious  in  the  sight  of 
God,  and  therefore  that,  until  this  nature  is  cultivated 
and  enlightened  and  purified,  neither  opulence  nor  power 
nor  learning  nor  genius  nor  domestic  sanctity  nor  the  hoU- 
ness  of  God's  altars  can  ever  be  safe. 

Until  the  immortal  and  godlike  capacities  of  ever}^  being 
that  comes  into  the  world  are  deemed  more  wortliy,  are 
watched  more  tenderly  than  any  other  things,  no  dynasty 
of  men  nor  form  of  government  can  stand  or  shall  stand 
upon  the  face  of  the  earth  ;  and  the  force  or  the  fraud 
which  would  seek  to  uphold  them  shall  be  but  *'  as  fetters 
of  flax  to  bind  the  flame."  Horace  Mann. 


A   TRIBUTE   TO   WOMAN  337 

A  TRIBUTE  TO  WOMAN. 

(From  "  Drama  of  Exile.") 

«  TJENCEFORWARD,  woman,  rise 

J-L     To  thy  peculiar  and  best  attitudes 
Of  doing  good  and  of  enduring  ill ; 
Of  comforting  for  ill,  and  teaching  good, 
And  reconciling  all  that  ill  and  good 
Unto  the  patience  of  a  constant  hope. 
....  If  sin  came  by  thee. 
And  by  sin,  death,  the  ransom,  righteousness, 
The  heavenly  life  and  compensative  rest 
Shall  come  by  means  of  thee.     If  woe  by  thee 
Had  issue  to  the  world,  thou  shalt  go  forth 
An  angel  of  the  woe  thou  didst  achieve  ; 
Found  acceptable  to  the  world  instead 
Of  others  of  that  name,  of  whose  bright  steps 
Thy  deed  stripped  bare  the  hills.     Be  satisfied ; 
Something  thou  hast  to  bear  through  womanhood — 
Peculiar  suffering  answering  to  the  sin ; 
Some  pang  paid  down  for  each  new  human  life. 
Some  weariness  in  guarding  such  a  life ; 
Some  coldness  from  the  guarded ;  some  mistrust 
From  those  thou  hast  too  well  served  ;  from  those  belove(i 
Too  loyally,  some  treason ;  feebleness 
Within  thy  heart  and  cruelty  without ; 
And  pressure  of  an  alien  tyranny, 
With  its  dynastic  reasons  of  larger  bones 
And  stronger  sinews.     But  go  to !  thy  love 
Shall  chant  itself  its  own  beatitudes. 
After  its  own  life- working.     A  child's  kiss 
Set  on  thy  sighing  lips,  shall  make  thee  glad. 
A  poor  man  served  by  thee,  shall  make  thee  rich ; 
An  old  man  helped  by  thee  shall  make  thee  strong ; 
Thou  shalt  be  served  thyself  by  every  sense 
Of  service  which  thou  renderest." 

22  Mrs.  Browning. 


338  ADVANCED    ELOCUTION 


THE  POWER  OF  FREE  IDEAS. 

THE  American  Revolution  was  not  the  struggle  of  a  class, 
but  of  a  people.  A  two-penny  tax  on  tea  or  paper  was 
not  the  cause,  it  was  only  the  occasion  of  the  Revolution. 
The  spirit  which  fought  the  desperate  and  disastrous  battle 
on  Long  Island  was  not  a  spirit  which  could  be  guided  by 
the  promise  of  sugar  gratis.  The  chance  of  success  was 
slight ;  the  penalty  of  failure  was  sure ;  but  they  believed 
in  God ;  they  kissed  wife  and  child,  left  them  in  His  hand, 
and  kept  their  powder  dry. 

Then  to  Valley  Forge,  the  valley  of  the  shadow  of  death, 
with  feet  bleeding  upon  the  sharp  ground,  with  hunger, 
thirst,  and  cold  dogging  their  steps ;  with  ghastly  death 
waiting  for  them  in  the  snow,  they  bore  that  faith  in  ideas 
which  brought  their  fathers  over  a  pitiless  sea  to  a  pitiless 
shore.  Ideas  were  their  food  ;  ideas  were  their  coats  and 
camp-fires.  They  knew  that  their  ranks  were  thin  and  raw, 
and  the  enemy  trained  and  many ;  but  they  knew,  also, 
that  the  only  difficulty  with  the  proverb  that  "  God  fights 
upon  the  side  of  the  strongest,"  is  that  it  is  not  true.  If 
you  load  your  muskets  with  bullets  only,  the  result  is  sim- 
ply a  question  of  numbers ;  but  one  gun  loaded  with  an 
idea  is  more  fatal  than  the  muskets  of  a  whole  regiment. 
A  bullet  kills  a  tyrant,  but  an  idea  kills  tyranny. 

What  chance  have  a  thousand  men  fighting  for  a  six- 
pence a  day  against  a  hundred  fighting  for  life  and  liberty, 
for  home  and  native  land  ?  In  such  hands  the  weapons 
themselves  feel  and  think.  And  so  the  family  firelocks 
and  rusty  swords,  the  horse-pistols  and  old  scythes  of  our 
fathers  thought  terribly  at  Lexington  and  Monmouth,  at 
Saratoga  and  Eutaw  Springs.  The  old  Continental  mus- 
kets thought  out  the  whole  Revolution.  The  English  and 
Hessian  arms  were  better  and  brighter  than  ours,  but  they 


THE   POWER  OF   FREE    IDEAS  339 

were  charged  with  saltpetre ;  ours  were  loaded  and  rammed 
home  with  ideas. 

Why  is  it  that  of  late  years  there  is  a  disposition  to 
smile  at  the  great  faith  of  our  fathers,  to  excuse  it,  to  ex- 
plain it  away,  or  even  to  sneer  at  it  as  an  abstraction  or  a 
glittering  generality?  Have  modern  rhetoricians  found 
something  surer  than  moral  principles  ?  Have  they  dis- 
covered a  force  in  politics  subtler  and  more  powerful  than 
the  Divine  law  ?  or  a  loftier  object  of  human  government 
than  universal  justice?  You  may  pluck  the  lightning 
harmless  from  the  clouds,  but  there  is  no  conductor  for 
the  divine  rage  of  a  people  demanding  its  national 
rights. 

What  are  your  spears,  O  Xerxes  ?  what  are  your  slings, 
proud  Persian,  with  your  two  million  soldiers  sheeting  the 
plains  of  Greece  with  splendor  and  roaring,  like  the  jubi- 
lant sea,  along  the  Pass  of  Thermopylae  ?  There  stands 
Leonidas  with  his  three  hundred,  rock-like ;  and  they  beat 
you  back  with  an  idea. 

Bourbon  of  Naples !  You  may  extinguish  Mtna,,  but 
the  fire  that  burns  in  the  Sicilian  heart  is  immortal,  in- 
extinguishable. 

Yes !  it  is  an  idea,  invisible,  abstract,  but  it  has  molded 
all  human  history  to  this  hour.  Liberty  is  justified  of  her 
children.  Whom  does  the  world  at  this  moment  fold  to 
its  heart?  Who  are  held  up  before  our  eyes  by  Provi- 
dence, like  bullets  plainly  displayed  before  they  are 
dropped  into  the  barrel  and  shot  home  to  the  mark  of 
God's  purpose  ?  Who  now  walk  through  the  world,  each 
step  giving  life  and  liberty  and  hope  to  the  people  ?  By 
the  blessing  of  God,  the  contest  has  changed  from  the 
sword  to  the  ballot ;  and  the  hope  of  liberty  secured  bj^ 
law  was  never  in  the  history  of  man  so  bright  as  it  is  to- 
day. 

George  William  Curtis. 


340  ADVANCED   ELOCUTION 


/i 


THE  MILLER  OF  DEE. 

THE  moon  was  afloat, 
Like  a  golden  boat 
On  the  sea-blue  depths  of  the  sky, 
When  the  miller  of  Dee, 
With  his  children  three, 
^   On  his  fat,  red  horse  rode  by. 

"  Whither  away,  0  miller  of  Dee  ? 
Whither  away  so  late  ?" 
Asked  the  tollman  old,  with  cough  and  sneeze, 
As  he  passed  the  big  toll-gate. 

But  the  miller  answered  him  never  a  word, 

Never  a  word  spake  he. 
He  paid  his  toll,  and  he  spurred  his  horse, 

And  rode  on  with  his  children  three. 

"  He's  afraid  to  tell !"  quoth  the  old  tollman, 

"  He's  ashamed  to  tell !"  quoth  he. 
"  But  I'll  follow  you  up  and  find  out  where 
You  are  going,  0  miller  of  Dee !" 

The  moon  was  afloat, 

Like  a  golden  boat 
Nearing  the  shore  of  the  sky. 

When,  with  cough  and  wheeze,  . 

And  hands  on  his  knees,  }. 

The  old  tollman  passed  by.  ^ 

"  Whither  away,  0  tollman  old  ? 
Whither  away  so  fast  ?" 
Cried  the  milkmaid  who  stood  at  the  farm-yard  bars, 
When  the  tollman  old  swept  past. 


THE   MILLER   OF   DEE  341 

The  tollman  answered  her  never  a  word ; 

Never  a  word  spake  he. 
Scant  breath  had  he  at  the  best  to  chase 

After  the  miller  of  Dee. 

"  He  won't  tell  where !" 
Said  the  milkmaid  fair, 
"  But  I'll  find  out !"  cried  she. 
And  away  from  the  farm, 
With  her  pail  on  her  arm. 
She  followed  the  miller  of  Dee. 

The  parson  stood  in  his  cap  and  gown. 

Under  the  old  oak  tree. 
"  And  whither  away  with  your  pail  of  milk, 

My  pretty  milkmaid  ?"  said  he  ; 
But  she  hurried  on  with  her  brimming  pail, 

And  never  a  word  spake  she. 

"  She  won't  tell  where !"  the  parson  cried. 
"  It's  my  duty  to  know,"  said  he. 
And  he  followed  the  maid  who  followed  the  man, 
Who  followed  the  miller  of  Dee. 

After  the  parson,  came  his  wife, 

The  sexton  he  came  next. 
After  the  sexton  the  constable  came, 

Troubled  and  sore  perplext. 

After  the  constable,  two  ragged  boys, 

To  see  what  the  fun  would  be ; 
And  a  little  black  dog,  with  only  one  eye. 
Was  the  last  of  the  nine  who,  with  groan  and  sigh, 

Followed  the  miller  of  Dee. 


542  ADVANCED  ELOCUTION 

Night  had  anchored  the  moon, 
Not  a  moment  too  soon, 

Under  the  lee  of  the  sky ; 
,  For  the  wind  it  blew, 

And  the  rain  fell,  too. 

And  the  river  of  Dee  ran  high. 

He  forded  the  river,  he  climbed  the  hill, 

He  and  his  children  three ; 
But  wherever  he  went  they  followed  him  stillj^ 

That  wicked  miller  of  Dee ! 

Just  as  the  clock  struck  the  hour  of  twelve 

The  miller  reached  home  again  ; 
And  when  he  dismounted  and  turned — behold! 
Those  who  had  followed  him  over  the  wold 

Came  up  in  the  pouring  rain. 

Splashed  and  spattered  from  head  to  foot, 

Muddy  and  wet  and  draggled. 
Over  the  hill  and  up  to  the  mill. 

That  wet  company  straggled. 

They  all  stopped  short ;  and  then  out  spake 
The  parson,  and  thus  spake  he : 
"  What  do  you  mean  by  your  conduct  to-night, 
You  wretched  miller  of  Dee  ?" 

"  I  went  for  a  ride,  a  nice  cool  ride, 
I  and  my  children  three ; 
For  I  took  them  along,  as  I  always  do," 
Answered  the  miller  of  Dee. 

"  But  you,  my  friends,  I  would  like  to  know 
Why  you  followed  me  all  the  way  ?" 
They  looked  at  each  other — "  We  were  out  for  a  walk, 
A  nice  cool  walk  I"  said  they. 

Eva  L.  Ogden. 


i 


SUCCESS  343 


SUCCESS. 

By  permission  of  and  arrangement  with  Houghton,  Mifflin  &  Co.,  Boston,  Mass. 

EVERY  man  must  patiently  bide  his  time.  He  must 
wait.  More  particularly  in  lands  like  my  native 
land,  where  the  pulse  of  life  beats  with  such  feverish  and 
impatient  throbs,  is  the  lesson  needful.  Our  national 
character  wants  the  dignity  of  repose.  We  seem  to  live 
in  the  midst  of  a  battle — there  is  such  a  din,  such  a  hur- 
rying to  and  fro.  In  the  streets  of  a  crowded  city  it  is 
difficult  to  walk  slowly.  You  feel  the  rushing  of  the 
crowd,  and  rush  with  it  onward.  In  the  press  of  our  life 
it  is  difficult  to  be  calm.  In  this  stress  of  wind  and  tide 
all  professions  seem  to  drag  their  anchors,  and  are  swept 
out  into  the  main. 

The  voices  of  the  Present  say,  "  Come !"  But  the  voices 
of  the  Past  say,  "  Wait !"  With  calm  and  solemn  foot- 
steps the  rising  tide  bears  against  the  rushing  torrent  up- 
stream, and  pushes  back  the  hurrying  waters.  With  no 
less  calm  and  solemn  footsteps,  nor  less  certainty,  does  a 
great  mind  bear  up  against  public  opinion,  and  push  back 
its  hurrying  stream. 

Therefore  should  every  man  wait — should  bide  his 
time.  Not  in  listless  idleness,  not  in  useless  pastime, 
not  in  querulous  dejection — but  in  constant,  steady,  cheer- 
ful endeavors,  always  willing  and  fulfilling  and  accom- 
plishing his  task,  that,  when  the  occasion  comes,  he  may 
be  equal  to  the  occasion. 

And  if  it  never  comes,  what  matters  it  ?  What  matters 
it  to  the  world  whether  you  or  I  or  another  man  did  such 
a  deed  or  wrote  such  a  book,  so  be  it  the  deed  and  book 
were  well  done  ?  It  is  the  part  of  an  indiscreet  and 
troublesome  ambition  to  care  too  much  about  fame — 
about  what  the  world  says  of  us  ;--to  be  always  looking 


344  ADVANCED    ELOCUTION 

into  the  faces  of  others  for  approval ;  to  be  always  anxious 
for  the  effect  of  what  we  do  and  say  ;  to  be  always  shouting 
to  hear  the  echo  of  our  own  voices. 

H.  W.  Longfellow. 


THE  FIRE  BY  THE  SEA. 

From  Mary  Clemmer  Ames'  Life  of  Alice  and  Phoebe  Gary. 

By  permission  of  and  arrangement  with  Messrs.  Houghton,  Mifflin  &  Co.,  pub- 
lishers of  the  works  of  Alice  and  Phcebe  Cary. 

THERE  were  seven  fishers,  with  nets  in  their  hands, 
And  they  walked  and  talked  by  the  seaside  sands ; 
Yet  sweet  as  the  sweet  dew  fall 
The  words  they  spake,  though  they  spake  so  low, 
Across  the  long,  dim  centuries  flow,  ,  ■ 

And  we  know  them,  one  and  all — 
Aye !  know  them  and  love  them  all. 

Seven  sad  men  in  the  days  of  old. 
And  one  was  gentle,  and  one  was  bold, 

And  they  walked  with  downcast  eyes ; 
The  bold  was  Peter,  the  gentle  was  John, 
And  they  all  were  sad,  for  the  Lord  was  gone, 

And  they  knew  not  if  He  would  rise — 

Knew  not  if  the  dead  would  rise. 

The  livelong  night,  till  the  moon  went  out 

In  the  drowning  waters,  they  beat  about ;  ^ 

Beat  slow  through  the  fog  their  way,  J 

And  the  sails  drooped  down  with  wringing  wet,  J 

And  no  man  drew  but  an  empty  net,  \ 

And  now  'twas  the  break  of  day — 

The  great,  glad  break  of  day. 

"  Cast  in  your  nets  on  the  other  side !" 
('Twas  Jesus  speaking  across  the  tide ;) 
And  they  cast  and  were  dragging  hard ; 


THE  FIRE  BY  THE  SEA  345 

But  that  disciple  whom  Jesus  loved 
Cried  straightway  out,  for  his  heart  was  moved : 
"  It  is  our  risen  Lord — 
Our  Master,  and  our  Lord !" 

Then,  Simon,  girding  his  fisher's  coat, 

Went  over  the  nets  and  out  of  the  boat — 
Aye !  first  of  them  all  was  he ; 

Repenting  sore  the  dismal  past. 

He  feared  no  longer  his  heart  to  cast 
Like  an  anchor  into  the  sea- 
Down  deep  in  the  hungry  sea. 

And  the  others,  through  the  mists  so  dim, 
In  a  little  ship  came  after  him. 

Dragging  their  net  through  the  tide  ; 
And  when  they  had  gotten  close  to  the  land 
They  saw  a  fire  of  coals  on  the  sand, 

And,  with  arms  of  love  so  wide, 

Jesus,  the  crucified ! 

'Tis  long,  and  long,  and  long  ago 
Since  the  rosy  lights  began  to  flow 

O'er  the  hills  of  Galilee ; 
And  with  eager  eyes  and  lifted  hands 
The  seven  fishers  saw  on  the  sands 

The  fire  of  coals  by  the  sea — 

On  the  wet,  wild  sands  by  the  sea. 

'Tis  long  ago,  yet  faith  in  our  souls 
Is  kindled  just  by  that  fire  of  coals 

That  streamed  o'er  the  mists  of  the  sea, 
Where  Peter,  girding  his  fisher's  coat. 
Went  over  the  nets  and  out  of  the  boat, 

To  answer,  "  Lov'st  thou  me?" 

Thrice  over,  "  Lov'st  thou  me  ?" 

Phcebe  Gary. 


346  ADVANCED  ELOCUTION 


OLD  DADDY  TURNER. 

rpHIS  was  the  picture  in  front  of  "  Old  Daddy  Turner's  " 
J-  cabin  in  the  "  Kaintuck  "  quarter  the  other  afternoon  : 
Two  colored  men  sitting  on  a  wash-bench,  silent  and  sor- 
rowful ;  an  old  dog  sleeping  in  the  sun  at  their  feet ;  and  a 
colored  woman  calling  to  a  boy  who  was  on  the  fence, 
"  Now,  Jeems  Henry,  you  git  right  down  from  dat !  Doan' 
you  know  dat  Daddy  Turner  am  jist  on  de  p'int  of  dyin' 
and  gwine  up  to  hebben  ?'' 

Here  was  the  i)icture  inside.  The  poor  old  white- 
headed  man  lying  on  his  dying  bed,  flesh  wasted  away  and 
strength  departed.  Near  him  sat  his  faithful  old  wife, 
rocking  to  and  fro  and  moaning  and  grieving.  Farther 
away  was  a  colored  man  and  woman,  solemn-faced  and 
sad-hearted,  and  shaking  their  heads  as  they  cast  glances 
toward  the  bed.  For  a  long  time  the  old  man  lay  quiet 
and  speechless,  but  at  length  he  signed  to  be  propped  up. 
A  sun  as  warm  as  spring-time  poured  into  the  room.  He 
took  notice  of  it,  and  a  change  came  to  his  face  as  his  eyes 
rested  upon  his  grieving  wife. 

"  Ize  bin  gwine  back  in  my  mind,"  he  whispered,  as  he 
reached  out  his  thin  hand  for  her  to  clasp.  "  Fur  ober  fo'ty 
y'ars  we's  trabbled  'long  de  same  path.  We  sung  de  same 
songs,  we  prayed  de  same  prayers ;  we  had  hold  of  ban's 
when  we  'lited  in  de  gospel  ranks,  an'  sot  our  faces  to'rds 
de  golden  gates  of  hebben.  Ole  woman,  Ize  gwine  to  part 
wid  you !     Yes,  Ize  gwine  ter  leave  yer  all  alone." 

"  O  Daddy !  Daddy !"  she  wailed  as  she  leaned  over 
him. 

"  Doan't  take  on  so,  chile !  It's  de  Lawd's  doin's,  not 
mine.  To-morrow  de  sun  may  be  as  bright  an'  warm,  but 
de  ole  man  won't  be  heah.  All  de  artemoon  Ize  had 
glimpses  of  a  shady  path  leadin'  down  to  de  shor'  of  a  big 


OLD   DADDY  TURNER  347 

broad  ribber.  Ize  seen  people  gwine  down  dar  to  cross 
ober,  an'  in  a  leetle  time  I'll  be  wid  'em. " 

She  put  her  wrinkled  face  on  the  pillow  beside  his,  and 
sobbed ;  and  he  placed  his  hand  on  her  head,  and  said  : — 

"  It's  de  Lawd,  chile, — de  bressed  Lawd  !  Chile,  Ize  tried 
to  be  good  to  yer.  You  has  been  good  to  me.  We  am 
nufiin  but  ole  cull'd  folks,  po'  in  ebery  ting,  but  tryin'  to 
do  right  by  ebery  body.  When  dey  tole  me  I'd  got  to  die, 
I  wasn't  sartin  if  de  Lawd  wanted  a  po'  old  black  man  like 
me  up  dar.  Yes,  chile,  He  will !  Dis  mawnin'  I  heard  de 
harps  playin',  de  rustle  of  wings,  an'  a  cloud  sorter  lifted 
up,  an'  I  got  a  cl'ar  view  right  frew  de  pearly  gates.  I  saw 
ole  slaves  an'  nayburs  dar,  an'  dey  was  jist  as  white  as  any- 
body ;  an'  a  hundred  ban's  beckoned  me  to  come  right  up 
dar  'mong  'em." 

"  O  Daddy !     I'll  be  all  alone — all  alone !"  she  wailed. 

"  Hush,  chile !  Ize  gwine  to  be  lookin'  down  on  ye.  Ize 
gwine  to  put  my  han'  on  yer  head  an'  kiss  ye  when  yer 
heart  am  big  wid  sorrow ;  an'  when  night  shets  down,  an' 
you  pray  to  de  Lawd,  I'll  be  kneelin'  'long  side  of  ye.  Ye 
won't  see  me,  but  I'll  be  wid  ye.  You's  ole  an'  gray.  It 
won't  be  long  before  ye'U  git  de  summons.  In  a  little  time 
de  cloud  will  lif  fur  ye,  an'  I'll  be  right  dar  by  de  pearly 
gates  to  take  ye  in  my  arms." 

*'  But  I  can't  let  you  go ;  I  will  hold  you  down  heah  wid 
me!" 

"  Chile !  Ize  sorry  for  ye,  but  Ize  drawin'  nigh  dat  shady 
path.  Hark  !  I  kin  h'ah  de  footsteps  of  de  mighty  parade 
of  speerits  marchin'  down  to  de  broad  ribber !  Dey  will 
dig  a  grave,  an'  lay  my  ole  bones  dar,  an'  in  a  week  all  de 
world  but  you  will  forgit  me.  But  doan'  grieve,  chile.  De 
Lawd  isn't  gwine  to  shet  de  gates  on  me  'cause  I'm  ole  an' 
po'  an'  black.  I  kin  see  dem  shinin'  way  up  dar — see  our 
boy  at  de  gate — ha'h  de  sweetest  music  dat  angels  kin  playl 
Light  de  lamp,  chile,  'cause  de  night  has  come  I" 


348  ADVANCED    ELOCUTION 

"  Oh  !  he's  gwine — he's  gwine !"  she  wailed,  as  her  tears 
fell  upon  his  face. 

"  Chile !  hold  my  han' !  Ober  heah  am  de  path.  I 
kin  see  men  an'  women  an'  chil'en  marchin'  'long !  Furder 
down  am  de  sunlight.  It  shines  on  de  great  ribber.  Ober 
de  ribber  am — de — gates — of  " — 

Of  heaven  !  On  earth,  old  and  poor  and  low  :  beyond 
the  gates,  an  angel  with  the  rest. 

Detroit  Free  Press. 


A  MOTHER'S  LAMENT. 

WHERE  art  thou,  my  beloved  son ! 
Where  art  thou !  worse  to  me  than  dead  ? 
Oh !  find  me,  prosperous  or  undone  I 

Or,  if  the  grave  be  now  thy  bed, 
Why  am  I  ignorant  of  the  same, 
That  I  may  rest ;  and  neither  blame 
Nor  sorrow  may  attend  thy  name  ? 

Seven  years,  alas !  to  have  received 

No  tidings  of  an  only  child ; 
To  have  despair'd,  have  hoped,  believed, 

And  been  forevermore  beguiled — 
Sometimes  with  thoughts  of  very  bliss  I 
I  catch  at  them,  and  then  I  miss ; 
Was  ever  darkness  like  to  this  ? 

He  was  among  the  prime  in  worth, 

An  object  beauteous  to  behold  ; 
Well  born,  well  bred  ;  I  sent  him  forth 

Ingenuous,  innocent,  and  bold ; 
If  things  ensued  that  wanted  grace 
As  hath  been  said,  they  were  not  base, 
And  never  blush  was  on  my  face. 


( 


A  mother's  lament  S49 

Ah !  little  doth  the  young  one  dream, 
When  full  of  play  and  childish  cares, 

What  power  is  in  his  wildest  scream 
Heard  by  his  mother  unawares ! 

He  knows  it  not,  he  cannot  guess ; 

Years  to  a  mother  bring  distress, 

But  do  not  make  her  love  the  less. 

Neglect  me !     No,  I  suffered  long 

From  that  ill  thought,  and,  being  blind, 

Said  "  Pride  shall  help  me  in  my  wrong ; 
Kind  mother  have  I  been ;  as  kind 

As  ever  breathed ;"  and  that  is  true ; 

I've  wet  my  path  with  tears  like  dew 

Weeping  for  him  when  no  one  knew. 

My  son,  if  thou  be  humbled,  poor, 

Hopeless  of  honor  and  of  gain, 
Oh  !  do  not  dread  thy  mother's  door ; 

Think  not  of  me  with  grief  and  pain ; 
I  now  can  see  with  better  eyes, 
And  worldly  grandeur  I  despise. 
And  fortune  with  her  gifts  and  lies. 

Alas !  the  fowls  of  heaven  have  wings. 
And  blasts  of  heaven  will  aid  their  flight; 

They  mount — how  short  a  voyage  brings 
The  wanderers  back  to  their  delight ! 

Chains  tie  us  down  by  land  and  sea ; 

And  wishes,  vain  as  mine,  may  be 

All  that  is  left  to  comfort  thee. 

Perhaps  some  dungeon  hears  thee  groan, 
Maim'd,  mangled  by  inhuman  men; 

Or  thou,  upon  a  desert  thrown, 
Inheritest  the  lion's  den  ; 


350  ADVANCED   ELOCUTION 

Or  hast  been  summoned  to  the  deep ; 
Thou,  thou,  and  all  thy  mates,  to  keep 
An  incommunicable  sleep. 

I  look  for  ghosts,  but  none  will  force 
Their  way  to  me ;  'tis  falsely  said 

That  there  was  ever  intercourse 
Between  the  living  and  the  dead ; 

For  surely  then  I  should  have  sight 

Of  him  I  wait  for  day  and  night, 

With  love  and  longings  infinite. 

My  apprehensions  come  in  crowds ; 

I  dread  the  rustling  of  the  grass ; 
The  very  shadows  of  the  clouds 

Have  power  to  shade  me  as  they  pass ; 
I  question  things,  and  do  not  find 
One  that  will  answer  to  my  mind. 
And  all  the  world  appears  unkind. 

Beyond  participation  lie 

My  troubles,  and  beyond  relief. 
If  any  chance  to  heave  a  sigh, 

They  pity  me,  and  not  my  grief. 
Then  come  to  me,  my  son,  or  send 
Some  tidings  that  my  woes  may  end. 
I  have  no  other  earthly  friend. 

William  Wordsworth. 


THE  POWER  OF  MUSIC. 

SOME  years  since  I  attended  the  National  Peace  Jubilee 
held  in  Boston.  Forty  thousand  people  sat  or  stood  in 
the  great  Coliseum  erected  for  that  purpose.  Thousands  of 
wind  and  stringed  instruments.    Twelve  thousand  trained 


THE  POWER  OF  MUSIC  351 

voices.  The  masterpieces  of  all  ages  rendered  hour  after 
hour,  and  day  after  day — Handel's  "  Judas  Maccabseus," 
Spohr's  "  Last  Judgment,"  Beethoven's  "  Mount  of  Olives," 
Haydn's  "  Creation,"  Mendelssohn's  "  Elijah,"  Meyerbeer's 
"Coronation  March,"  rolling  on  and  up  in  surges  that 
billowed  against  the  heavens.  The  mighty  cadences 
within  were  accompanied  on  the  outside  by  the  ringing 
of  the  bells  of  the  city  and  cannon  on  the  commons, 
discharged  by  electricity,  in  exact  time  with  the  music, 
thundering  their  awful  bars  of  a  harmony  that  astounded 
all  nations. 

Sometimes  I  bowed  my  head  and  wept.  Sometimes  I 
stood  up  in  the  enchantment,  and  sometimes  the  effect 
was  so  overpowering  I  felt  I  could  not  endure  it.  When 
all  the  voices  were  in  full  chorus,  and  all  the  batons  in  full 
wave,  and  all  the  orchestra  in  full  triumph,  and  a  hundred 
anvils  under  mighty  hammers  were  in  full  clang,  and  all 
the  towers  of  the  city  rolled  in  their  majestic  sweetness, 
and  the  whole  building  quaked  with  the  boom  of  thirty 
cannon,  Parepa  Rosa,  with  a  voice  that  will  never  again 
be  equaled  on  earth  until  the  archangelic  voice  proclaims 
that  time  shall  be  no  longer,  rose  above  all  other  sounds  in 
her  rendering  of  our  national  air,  the  Star  Spangled 
Banner.  It  was  too  much  for  a  mortal,  and  quite 
enough  for  an  immortal,  to  hear,  and  while  some  fainted, 
one  womanly  spirit,  released  under  its  power,  sped  away 
to  be  with  God. 

O  Lord,  our  God,  quickly  usher  in  the  whole  world's 
peace  jubilee,  and  all  islands  of  the  sea  join  the  five  con- 
tinents, and  all  the  voices  and  musical  instruments  of  all 
nations  combine,  and  all  the  organs  that  ever  sounded  re- 
quiem of  sorrow  sound  only  a  grand  march  of  joy,  and 
all  the  bells  that  tolled  for  burial  ring  for  resurrection,  and 
all  the  cannon  that  ever  hurled  death  across  the  nations, 
sound  to  eternal  victory,  and  over  all  the  acclaim  of  earth 


352  ADVANCED   ELOCUTION 

and  minstrelsy  of  heaven  there  will  be  heard  one  voice 
sweeter  and  mightier  than  any  human  or  angelic  voice, 
a  voice  once  full  of  tears,  but  then  full  of  triumph,  the 
voice  of  Christ,  saying :  "  I  am  Alpha  and  Omega,  the 
beginning  and  the  end,  the  first  and  the  last."  Then, 
at  the  laying  of  the  top-stone  of  the  world's  history,  the 
same  voices  sliall  be  heard  as  when  at  the  laying  of  the 
world's  corner-stone  "  the  morning  stars  sang  together." 

T.  De  Witt  Talmage. 


LOSSES. 


UPON  the  white  sea-sand 
There  sat  a  pilgrim  band. 
Telling  the  losses  that  their  lives  had  known ; 
While  evening  waned  away 
From  breezy  cliff  and  bay, 
And  the  strong  tides  went  out  with  weary  moan. 

One  spake,  with  quivering  lip. 

Of  a  fair  freighted  ship. 
With  all  his  household  to  the  deep  gone  down ; 

But  one  had  wilder  woe — 

For  a  fair  face,  long  ago 
Lost  in  the  darker  depths  of  a  great  town. 

There  were  who  mourned  their  youth 

With  a  most  loving  ruth. 
For  its  brave  hopes  and  memories  ever  green ; 

And  one  upon  the  west 

Turned  an  eye  that  would  not  rest, 
For  far-off  hills  whereon  its  joy  had  been. 

Some  talked  of  vanished  gold, 
Some  of  proud  honors  told, 


EDUCATION  353 

Some  spoke  of  friends  that  were  their  trust  no  more ; 

And  one  of  a  green  grave 

Beside  a  foreign  wave, 
That  made  him  sit  so  lonely  on  the  shore. 

But  when  their  tales  were  done, 

There  spake  among  them  one, 
A  stranger,  seeming  from  all  sorrow  free ; 
"  Sad  losses  have  ye  met, 

But  mine  is  heavier  yet ;    , 
For  a  believing  heart  hath  gone  from  me." 

"  Alas !"  these  pilgrims  said, 
"  For  the  living  and  the  dead — 
For  fortune's  cruelty,  for  love's  sure  cross, 
For  the  wrecks  of  land  and  sea ! 
But,  however  it  came  to  thee, 
Thine,  stranger,  is  life's  last  and  heaviest  loss." 

Frances  Brown. 


EDUCATION. 

WERE  a  being  of  an  understanding  mind  and  a  benevo. 
lent  heart,  to  see,  for  the  first  time,  a  peaceful  babe 
reposing  in  its  cradle,  or  on  its  mother's  breast,  and  were 
he  to  be  told  that  that  infant  had  been  so  constituted  that 
every  joint  and  organ  in  its  whole  frame  might  become  the 
rendezvous  of  disease  and  racking  pains ;  that  such  was  its 
internal  structure  that  every  nerve  and  fibre  beneath  its 
skin  might  be  made  to  throb  with  a  peculiar  torture ;  that 
in  the  endless  catalogue  of  human  disasters,  maladies,  ad- 
versities, or  shames,  there  was  scarcely  one  to  which  it 
would  not  be  exposed ;  that,  in  the  whole  criminal  law  of 
society,  and  in  the  more  comprehensive  and  self-executing 
law  of  God  there  was  not  a  crime  which  its  heart  might 
not  at  some  time  will,  and  its  hand  perpetrate ;  that,  in 
23 


354  ADVANCED   ELOCUTION 

the  ghastly  host  of  tragic  passions — Fear,  Envy,  Jealousy, 
Hate,  Remorse,  Despair — there  was  not  one  which  might 
not  lacerate  its  soul,  and  bring  down  upon  it  an  appropri- 
ate catastrophe — were  the  benevolent  spectator  whom  I 
have  supposed,  to  see  this  environment  of  ills  underlying, 
surrounding,  overhanging  their  feeble  and  unconscious 
victim,  and,  as  it  were,  watching  to  dart  forth  and  seize  it, 
might  he  not  be  excused  for  wishing  the  newly-created 
spirit  well  back  again  into  nonenity  ? 

But  we  cannot  return  to  nonenity.  We  have  no  refuge 
in  annihilation.  Creative  energy  has  been  exerted.  Our 
first  attribute,  the  vehicle  of  all  our  other  attributes,  is 
immortality.  We  are  of  indestructible  mold.  Do  what 
else  we  please  with  our  nature  and  our  faculties,  we  cannot 
annihilate  them.  Go  where  we  please,  self-desertion  is 
impossible.  Banished,  we  may  be,  from  the  enjoyment  of 
God,  but  never  from  His  dominion.  There  is  no  right  or 
power  of  expatriation.  There  is  no  neighboring  universe 
to  fly  to.  If  we  forswear  allegiance,  it  is  but  an  empty 
form,  for  the  laws  by  which  we  are  bound  do  not  only  sur- 
round us,  but  are  in  us,  and  parts  of  us.  Whatsoever 
other  things  may  be  possible,  yet  to  break  up  or  suspend 
this  perpetuity  of  existence;  to  elude  this  susceptibility 
to  pains,  at  once  indefinite  in  number  and  indescribable  in 
severity ;  to  silence  conscience,  or  to  say  that  it  shall  not 
hold  dominion  over  the  soul ;  to  sink  the  past  in  oblivion ; 
or  to  alter  any  of  the  conditions  on  which  Heaven  has 
made  our  bliss  and  our  woe  depend — these  things  are  im- 
possible. Personality  has  been  given  us,  by  which  we 
must  refer  all  sensations,  emotions,  resolves,  to  our  con- 
scious selves.  Identity  has  been  given  us,  by  virtue  of 
which,  through  whatever  ages  we  exist,  our  whole  being 
is  made  a  unity.  Now,  whether  curses  or  blessings,  by 
these  conditions  of  our  nature  we  must  stand ;  for  they 
are  appointed  to  us  by  a  law  higher  than  Fate — by  the 
law  of  God.  Horace  Mann. 


NATIONAL  GREATNESS  355 


THE  LAND  0'  THE  LEAL. 

I'M  wearing  awa',  Jean, 
Like  snaw  when  its  thaw,  Jean ; 
I'm  wearing  awa' 
To  the  land  o'  the  leal. 
There's  nae  sorrow  there,  Jean ; 
There's  neither  cauld  nor  care,  Jean  ; 
The  day  is  aye  fair 
In  the  land  o'  the  leal. 

Ye  were  aye  leal  and  true,  Jean ; 
Your  task's  ended  noo,  Jean, 
And  I'll  welcome  you 
To  the  land  o'  the  leal. 
Our  bonnie  bairn's  there,  Jean ; 
She  was  baith  good  and  fair,  Jean ; 
O,  we  grudged  her  right  sair 
To  the  land  o'  the  leal ! 

Then  dry  that  tearfu'  e'e,  Jean ; 
My  soul  langs  to  be  free,  Jean, 
And  angels  wait  on  me 
In  the  land  o'  the  leal. 
Now  fare  ye  weel,  my  ain  Jean ; 
This  warld's  care  is  vain,  Jean ; 
We'll  meet  and  eye  be  fain 
In  the  land  o'  the  leal. 

Lady  Nairn. 


NATIONAL  GREATNESS. 

I  BELIEVE  there  is  no  permanent  greatness  to  a  nation 
except  it  be  based  upon  morality.  I  do  not  care  for 
military  greatness  or  military  renown.  I  care  for  the  condi- 
tion of  the  people  among  whom  I  live.    There  is  no  man  in 


356  ADVANCED    ELOCUTION 

England  who  is  less  likely  to  speak  irreverently  of  the  crown 
and  monarchy  of  England  than  I  am ;  but  crowns,  coro- 
nets, miters,  military  display,  the  pomp  of  war,  wide  colo- 
nies, and  a. huge  empire  are,  in  my  view,  all  trifles  light  as 
air,  and  not  worth  considering,  unless  with  them  you  can 
have  a  fair  share  of  comfort,  contentment,  and  happiness 
among  the  great  body  of  the  people.  Palaces,  baronial 
castles,  great  halls,  stately  mansions,  do  not  make  a  nation. 
The  nation,  in  every  country,  dwells  in  the  cottage ;  and 
unless  the  light  of  your  constitution  can  shine  there,  unless 
the  beauty  of  your  legislation  and  excellence  of  your  state- 
manship  are  impressed  there  in  the  feelings  and  condition 
of  the  people,  rely  upon  it  you  have  yet  to  learn  the  duties 
of  government.  John  Bright. 


THE  LAWYER'S  LULLABY. 

(From  the  Outlook.) 

BE  still,  my  child !  remain  in  statu  quo, 
While  I  propel  thy  cradle  to  and  fro, 
Let  no  involved  res  inter  alios 
Prevail  while  we're  consulting  inter  nos. 

Was  that  a  little  pain  in  medias  res  ? 

Too  bad !  too  bad !  we'll  have  no  more  of  these. 

I'll  send  a  capias  for  some  wise  expert 

Who  knows  how  to  eject  the  pain  and  stay  the  hurt. 

No  trespasser  shall  come  to  trouble  thee ; 
For  thou  dost  own  this  house  in  simple  fee — 
And  thy  administrators,  heirs,  assigns, 
To  have,  to  hold,  convey,  at  thy  designs. 

Correct  thy  pleadings,  my  own  baby  boy ; 

Let  there  be  an  abatement  of  thy  joy ; 

Quash  every  tendency  to  keep  awake, 

And  verdict,  costs,  and  judgment  thou  shalt  take. 

F.    H.    COGGSWELL. 


PROSPicE  357 


PROSPICE. 

FEAR  death  ? — to  feel  the  fog  in  my  throat, 
The  mist  in  my  face, 
When  the  snows  begin,  and  the  blasts  denote 

I  am  nearing  the  place. 
The  power  of  the  night,  the  press  of  the  storm, 

The  post  of  the  foe ; 
Where  he  stands,  the  Arch  Fear  in  a  visible  form, 

Yet  the  strong  man  must  go  : 
For  the  journey  is  done  and  the  summit  attained. 

And  the  barriers  fall. 
Though  a  battle's  to  fight  ere  the  guerdon  be  gained, 

The  reward  of  it  all. 
I  was  ever  a  fighter,  so — one  fight  more. 

The  best  and  the  last ! 
I  would  hate  that  death  bandaged  my  eyes,  and  forbore. 

And  bade  me  creep  past. 
No !  let  me  taste  the  whole  of  it,  fare  like  my  peers 

The  heroes  of  old. 
Bear  the  brunt,  in  a  minute  pay  glad  life's  arrears 

Of  pain,  darkness,  and  cold. 
For  sudden  the  worst  turns  the  best  to  the  brave, 

The  black  minute's  at  end. 
And  the  elements'  rage,  the  fiend-voices  that  rave. 

Shall  dwindle,  shall  blend. 
Shall  change,  shall  become  first  a  peace  out  of  pain, 

Then  a  light,  then  thy  breast, 
0  thou  soul  of  my  soul !  I  shall  clasp  thee  again, 

And  with  God  be  the  rest ! 

Robert  Browning. 


358  ADVANCED   ELOCUTION 

THE  GRAVE. 

Permission  of  G.  P.  Putnam's  Sons,  New  York. 

OH,  the  grave !  the  grave !  It  buries  every  error ;  covers 
every  defect ;  extinguishes  every  resentment.  From 
its  peaceful  bosom  spring  none  but  fond  regrets  and  tender 
recollections.  Who  can  look  down  upon  the  grave  even 
of  an  enemy,  and  not  feel  a  compunctious  throb,  that  ever 
he  should  have  warred  with  the  poor  handful  of  earth 
that  lies  moldering  before  him  ?  But  the  grave  of  those 
he  loved,  what  a  place  for  meditation !  Then  it  is  we  call 
up,  in  long  review,  the  whole  history  of  virtue  and  gen- 
tleness, and  the  thousand  endearments  lavished  upon  us, 
almost  unheeded,  in  the  daily  intercourse  of  intimacy ; 
then  it  is  we  dwell  upon  the  tenderness,  the  solemn  and 
awful  tenderness  of  the  parting  scene ;  the  bed  of  death, 
with  all  the  stifled  grief ;  its  noiseless  attendants,  its  mute, 
watchful  assiduities;  the  last  testimonies  of  expiring 
love ;  the  feeble,  fluttering,  thrilling — oh,  how  thrilling ! — 
pressure  of  the  hand ;  the  last,  fond  look  of  the  glazed 
eye,  turning  upon  us,  even  from  the  threshold  of  exist- 
ence; the  faint,  faltering  accents  struggling  in  death  to 
give  one  more  assurance  of  affection!  Aye,  go  to  the 
grave  of  buried  love  and  meditate!  There  settle  the 
account  with  thy  conscience,  for  every  past  endearment, 
unregarded,  of  that  departed  being,  who  never,  never, 
never  can  return,  to  be  soothed  by  contrition ! 

If  thou  art  a  child,  and  hast  ever  added  a  sorrow  to  the 
soul,  or  a  furrow  to  the  silvered  brow  of  an  affectionate 
parent ;  if  thou  art  a  husband,  and  hast  ever  caused  the 
fond  bosom  that  ventured  its  whole  happiness  in  thy 
arms,  to  doubt  one  moment  of  thy  kindness  or  thy 
truth ;  if  thou  art  a  friend,  and  hast  ever  wronged  in 
thought,  or  word,  or  deed,  the  spirit  that  generously  con- 
fided in  thee;  if  thou  art  a  lover  and  hast  ever  given  an 
unmerited  pang  to  the  true  heart  that  now  lies  cold  and 


MOLLY  CAREW  359 

still  beneath  thy  feet;  then  be  sure  that  every  unkind 
look,  every  ungracious  word,  every  ungenteel  action,  will 
come  thronging  back  upon  thy  memory,  and  knocking 
dolefully  at  thy  soul ;  then  be  sure  thou  wilt  be  down, 
sorrowing  and  repentant  on  the  grave,  and  utter  the  un- 
heard groan,  and  pour  the  unavailing  tear,  more  deep, 
more  bitter,  because  unheard  and  unavailing. 

Washington  Irving. 


MOLLY  CAREW. 

OCH  hone  !  and  what  will  I  do? 
Sure  my  love  is  all  crost 
Like  a  bud  in  the  frost ; 
And  there's  no  use  at  all  in  my  going  to  bed, 
For  'tis  dhrames  and  not  sleep  comes  into  my  head, 
And  'tis  all  about  you. 
My  sweet  Molly  Carew — 
And  indeed  'tis  a  sin  and  a  shame ; 
You're  complater  than  Nature 
In  every  feature. 
The  snow  can't  compare 
With  your  forehead  so  fair. 
And  I  rather  would  see  just  one  blink  of  your  eye 
Than  the  purtiest  star  that  shines  out  of  the  sky, 
And  by  this  and  by  that. 
For  the  matter  o'  that, 
You're  more  distant  by  far  than  that  same  I 

Och  hone!  weirasthru! 
I'm  alone  in  this  world  without  you. 

Och  hone !  but  why  should  I  spake 

Of  your  forehead  and  eyes. 

When  your  nose  it  defies 
Paddy  Blake,  the  schoolmaster,  to  put  it  in  rhyme  ? 
Tho'  there's  one  Burke,  he  says,  that  would  call  it  sm*61ime, 


360  ADVANCED    ELOCUTION 

And  then  for  your  cheek  ! 

Troth,  'twould  take  him  a  week 
Its  beauties  to  tell,  as  he'd  rather. 

Then  your  lips  !  oh,  machree ! 

In  their  beautiful  glow. 

They  a  patthern  might  be 

For  the  cherries  to  grow. 
'TAvas  an  apple  that  tempted  our  mother,  we  know, 
For  apples  were  scarce,  I  suppose,  long  ago  ; 

But  at  this  time  o'  day, 

'Pon  my  conscience  I'll  say 
Such  cherries  might  tempt  a  man's  father ! 

Och  hone  !  weirasthru  ! 
I'm  alone  in  this  world  without  you. 

Och  hone  !  by  the  man  in  the  moon, 

You  taze  me  all  ways 

That  a  woman  can  plaze. 
For  you  dance  twice  as  high  with  that  thief  Pat  Magee, 
As  when  you  take  share  of  a  jig,  dear,  with  me, 

Tho'  the  piper  I  bate. 

For  fear  the  owld  chate 
Wouldn't  play  you  your  favourite  tune ; 

And  when  you're  at  mass 

My  devotion  you  crass. 

For  'tis  thinking  of  you 

I  am,  Molly  Carew, 
While  you  wear,  on  purpose,  a  bonnet  so  deep, 
That  I  can't  at  your  sweet  purty  face  get  a  peep : — 

Oh,  lave  off  that  bonnet. 

Or  else  I'll  lave  on  it 
The  loss  of  my  wandherin'  sowl ! 

Och  hone !  weirasthru ! 

Och  hone  !  like  an  owl, 
Day  is  night,  dear,  to  me,  without  you ! 


THE  UNION  361 

Och  hone !  don't  provoke  me  to  do  it ; 
For  there's  girls  by  the  score 
That  loves  me — and  more, 
And  you'd  look  very  quare  if  some  morning  you'd  meet 
My  weddin'  all  marchin'  in  pride  down  the  sthreet ; 
Troth,  you'd  open  j^our  eyes. 
And  you'd  die  with  surprise, 
To  think  'twasn't  you  was  come  to  it ! 
And  faith  Katty  Naile, 
And  her  cow,  I  go  bail, 
Would  jump  if  I'd  say, 
"  Katty  Naile,  name  the  day." 
And  tho'  you're  fair  and  fresh  as  a  morning  in  May, 
While  she's  short  and  dark  like  a  cowld  winther's  day, 
Yet  if  you  don't  repent 
Before  Easther,  when  Lent 
Is  over  I'll  marry  for  spite  I 
Och  hone !  weirasthru  I 
And  when  I  die  for  you. 
My  ghost  will  haunt  you  every  night. 

Samuel  Lover. 


THE  UNION. 

By  permission  of  and  arrangement  with  Houghton,  Mifflin  &  Co.,  Boston,  Mass. 

HAS  our  love  all  died  out?    Have  its  altars  grown  cold? 
Has  the  curse  come  at  last  which  the  fathers  fore- 
told? 
Then  nature  must  teach  us  the  strength  of  the  chain, 
That  her  petulant  children  would  sever  in  vain. 

They  may  fight  till  the  buzzards  are  gorged  with  their  spoil, 
Till  the  harvest  grows  black  as  it  rots  in  the  soil. 
Till  the  wolves  and  the  catamounts  troop  from  their  caves, 
And  the  shark  tracks  the  pirate,  the  lord  of  the  waves. 


362  ADVANCED  ELOCUTION 

In  vain  is  the  strife !     When  its  fury  is  past, 
Their  fortunes  must  flow  in  one  channel  at  last; 
As  the  torrents  that  rush  from  the  mountains  of  snow, 
Roll  mingled  in  peace  through  the  valleys  below. 

Our  Union  is  river,  lake,  ocean,  and  sky, 
Man  breaks  not  the  medal  when  God  cuts  the  die ! 
Though  darkened  with  sulphur,  though  cloven  with  steel, 
The  blue  arch  will  brighten,  the  waters  will  heal ! 

Oliver  Wendell  Holmes. 


UNDER  THE  ROD. 

I  SAW  the  young  bride,  in  her  beauty  and  pride, 
Bedeck'd  in  her  snowy  array ; 
And  the  bright  flush  of  joy  mantled  high  on  her  cheek, 

And  the  future  looked  blooming  and  gay : 
And  with  woman's  devotion  she  laid  her  fond  heart 

At  the  shrine  of  idolatrous  love, 
And  she  anchor'd  her  hopes  to  this  perishing  earth, 

By  the  chain  which  her  tenderness  wove. 
But  I  saw  when  those  heart-strings  were  bleeding  and  torn, 

And  the  chain  had  been  severed  in  two, 
She  had  changed  her  white  robes  for  the  sables  of  grief, 

And  her  bloom  for  the  paleness  of  woe. 
But  the  Healer  was  there,  pouring  balm  on  her  heart. 

And  wiping  the  tears  from  her  eyes, 
And  He  strengthen'd  the  chain  He  had  broken  in  twain 

And  fastened  it  firm  to  the  skies ! 
There  had  whispered  a  voice — 'twas  the  voice  of  her  God, 

"  I  love  thee — I  love  thee — pass  under  the  rod  I" 

I  saw  the  young  mother  in  tenderness  bend 

O'er  the  couch  of  her  slumbering  boy, 
And  she  kissed  the  soft  lips  as  they  murmur'd  her  name, 

While  the  dreamer  lay  smiling  in  joy. 


UNDER  THE   ROD  363 

Oh,  sweet  as  a  rose-bud  encircled  with  dew, 

When  its  fragrance  is  flung  on  the  air, 
So  fresh  and  so  bright  to  that  mother  he  seemed, 

As  he  lay  in  his  innocence  there. 
But  I  saw  when  she  gazed  on  the  same  lovely  form, 

Pale  as  marble,  and  silent,  and  cold. 
But  paler  and  colder  her  beautiful  boy, 

And  the  tale  of  her  sorrow  was  told ! 
But  the  Healer  was  there  who  had  stricken  her  heart 

And  taken  her  treasure  away. 
To  allure  her  to  heaven  He  has  placed  it  on  high, 

And  the  mourner  will  sweetly  obey. 
There  had  whispered  a  voice  —  'twas  the  voice  of  her 
God, 

"  I  love  thee — I  love  thee — pass  under  the  rod !" 

I  saw  the  fond  brother,  with  glances  of  love. 

Gazing  down  on  a  gentle  young  girl. 
And  she  hung  on  his  arm,  and  breathed  soft  in  his  ear 

As  he  played  with  each  graceful  curl. 
Oh,  he  loved  the  sweet  tones  of  her  silvery  voice, 

Le+  her  use  it  in  sadness  or  glee ; 
And  he'd  clasp  his  brave  arms  round  her  delicate  form, 

As  she  sat  on  her  brother's  knee. 
But  I  saw  when  he  gazed  on  her  death-stricken  face. 

And  she  breathed  not  a  word  in  his  ear  ; 
And  he  clasped  his  brave  arms  round  an  icy  cold  form, 

And  he  moisten'd  her  cheek  with  a  tear. 
But  the  Healer  was  there,  and  He  said  to  him  thus — 

"  Grieve  not  for  thy  sister's  short  life," 
And  He  gave  to  his  arms  still  another  fair  girl. 

And  he  made  her  his  own  cherished  wife  I 
There  had  whispered  a  voice  —  'twas  the  voice   of  hia 
God, 

"  I  love  thee — I  love  thee — pass  under  the  rod  I" 


364  ADVANCED   ELOCUTION 

T  saw  where  a  father  and  mother  had  leaned 

On  the  amis  of  a  dear  gifted  son, 
And  the  star  in  the  future  grew  bright  to  their  gaze, 

As  they  saw  the  proud  place  he  had  won  : 
And  the  fast-coming  evening  of  life  promised  fair, 

And  its  pathway  grew  smooth  to  their  feet, 
And  the  starlight  of  love  glimmered  bright  at  the  end. 

And  the  whispers  of  fancy  were  sweet. 
But  I  saw  when  they  stood,  bending  low  o'er  the  grave, 

Where  their  heart's  dearest  hope  had  been  laid. 
And  the  star  had  gone  down  in  the  darkness  of  night. 

And  the  joy  from  their  bosoms  had  fled. 
But  the  Healer  was  there,  and  His  arms  were  around, 

And  He  led  them  with  tenderest  care ; 
And  He  showed  them  a  star  in  a  bright  upper  world, 

'Twas  their  star  shining  brilliantly  there ! 
They  had  each  heard  a  voice — 'twas  the  voice  of  their 
God, 

"  I  love  thee — I  love  thee — pass  under  the  rod  !" 

Mary  B.  Dana. 


METAMORA  TO  HIS  WARRIORS. 

SACHEMS,  cliiefs,  and  warriors !  Metamora  has  told  his 
brothers  of  the  many  aggressions  and  insults  of  the 
pale-faces,  and  the  outrage  upon  his  family.  Metamora  can- 
not lie.  He  has  told  his  brothers  that  the  heart  of  the  pale- 
face is  like  his  skin,  white  and  without  blood — that  good 
sap  of  the  tree  that  makes  its  branches  spread  afar,  and 
give  shelter  and  fruit  to  all.  Metamora  cannot  lie.  He 
has  told  his  brothers  that  the  Great  Spirit,  who  provides 
for  all  His  creatures,  made  a  land  for  the  white  man  as 
well  as  for  His  red  children.  That  land  made  by  the 
Good  Spirit  must  be  good ;  and  if  these  pale-faces  were 
good  in  their  hearts,  they  would  live  in  their  own  land 


METAMORA   TO   HIS  WARRIORS  365 

that  their  Father  gave  them.  If  they  are  not  good,  the 
red  man  should  treat  them  as  he  treats  the  panther,  that 
comes  to  his  wigwam  to  steal  the  deer  that  he  has  hunted, 
or  the  bird  that  he  has  shot  with  his  arrow.  Metamora 
cannot  lie. 

When  a  red  man  makes  a  visit  of  peace  to  a  brother's 
wigwam,  he  feeds  at  his  fire,  drinks  of  his  bowl,  smokes 
of  the  prophet-plant,  and  departs  in  peace.  We  received 
the  white  man  as  we  receive  a  brother ;  he  fed  at  our  fire, 
smoked  of  the  friendly  pipe,  and  danced  with  our  squaws ; 
but  he  never  departs.  He  still  stays,  eats  of  our  meat, 
warms  by  our  fires,  craves  more  and  more  from  us, 
measures  the  very  ground  that  we  loaned  him  to  sport  on, 
and  claims  it  as  his  own.  Was  he  not  afraid  to  track 
even  the  deer  of  the  hills,  or  the  bear  of  the  forest,  for  a 
meal  ?  Did  not  the  red  man  hunt  the  buffalo,  the  buck, 
the  otter,  and  slay  them  to  feed  and  keep  him  warm  ? 
And  when  the  Great  Spirit,  angry  at  their  stay,  talked 
louder  than  the  roar  of  their  mighty  rifles,  and  shook  their 
big  canoes  in  His  wrath,  did  we  not  dive  into  the  mad 
waters  around  them,  and  save  them  from  going  down  to 
the  water-spirit  in  their  splintered  barks  ?  Did  not  the 
red  men  dry  them  by  their  fires,  give  them  the  soft  fur  of 
the  otter  to  lie  on,  and  shelter  and  protect  them,  till  our 
prophets  soothed  the  Great  Spirit's  anger,  and  He  talked 
no  more  in  thunder  ?  And  now  they  stay  long,  and  want 
more — more — more.  Like  the  wolf-dog,  feed  him,  and 
he'll  come  again ;  give  him  our  beds,  and  he  bites  us ; 
fatten  him,  and  he'll  drive  us  from  our  wigwam. 

They  show  us  books,  which  they  say  will  tell  us  of  the 
Great  Spirit.  We  know  the  Great  Spirit  without  books.  He 
whispers  to  us  in  the  breeze ;  He  sings  to  us  in  the  wind- 
cloud  and  the  waterfall ;  He  talks  to  us  in  thunder,  and 
our  hearts  answer;  we  see  His  frown  in  the  storm-cloud. 
His  smile  in  the  warm  face  of  the  eternal  sun ;  the  great 


366  ADVANCED   ELOCUTION 

blue  tent  above  is  His  wigwam,  and  the  stars  are  His 
watch-fires!  The  red  men  need  no  books  to  tell  them 
this,  for  this  is  all  truth.  White  men  make  books,  and 
white  men  lie !  They  take  from  us,  while  they  tell  us  that 
they  come  to  give ;  but  the  red  man  wants  no  gifts,  save 
the  gifts  of  Him  who  owns  all,  and  who  can  give  without 
taking  from  another.  When  the  red  man  makes  war  upon 
his  brother,  he  comes  to  him  as  his  foe,  and  shows  the 
tomahawk,  the  bow  and  arrow,  and  the  plume  of  the 
eagle ;  but  these  pale-faces  come  with  peace  upon  their 
lips,  with  their  hands  empty,  but  wear  the  little  rifle  and 
the  knife,  like  a  snake  hid  within  their  bosoms,  to  plunge 
into  the  heart  of  the  red  man.  In  this  do  thc}^  not  lie? 
They  are  as  false  as  the  snow-bank  in  the  spring ;  if  we 
rest  upon  it  it  sinks  with  us. 

The  white  man  talks  of  peace ;  but  Metamora  tells  his 
brothers  that  their  big  canoes  are  still  landing  from  over  the 
salt  lake,  filled  with  rifles,  thunder-guns,  and  their  long 
knives  of  war.  Metamora  cannot  lie.  When  we  ask  the 
white  man  what  all  these  are  for,  he  tells  us  they  are  for 
hunting,  and  destroying  the  wolf,  the  panther,  and  the 
alligator ;  but  Metamora  again  tells  his  brothers  'tis  a  lie ! 
They  are  to  drive  the  red  man  from  his  lands,  shoot  him 
down  like  the  deer  herd,  and  fire  his  wigwam  with  their 
thunder-guns.  Then  let  the  red  man  rouse  and  scream 
like  the  eagle  when  the  snake  seeks  his  nest — join  with 
his  tribe,  and  dart  upon  his  foe — protect  the  lands  of  his 
fathers,  the  gift  of  the  Great  Spirit ;  let  the  keen  axe  of 
vengeance  defend  their  wives  and  the  doves  of  their  wig- 
wams from  the  fire-hail  of  the  white  skin.  Bury  not  the 
hatchet,  nor  sling  the  rifle,  while  the  track  of  the  high 
moccasin  insults  the  graves  of  our  fathers ! 

White  man,  beware !  The  wrath  of  the  wronged  Indian 
shall  come  upon  you  like  the  roaring  cataract  that  dashes 
the  uprooted  oak  down  into  the  mighty  chasm ;  the  war- 


THE   BOAT-RACE  367 

whoop  shall  rouse  you  from  your  dreams  at  night,  and  the 
red  tomahawk  glare  in  the  blaze  of  your  burning  dwell- 
ings !  Tremble !  from  the  east  to  the  west,  in  the  north 
and  in  the  south,  shall  be  heard  the  loud  cry  of  ven- 
geance, tiW  the  lands  you  have  stolen  groan  under  your 
feet  no  more. 

Snakes  of  the  pale-face,  ye  may  slay  the  chief  of  the 
Wampanoags,  but  the  soul  of  Metamora  shall  still  live,  and 
talk  in  the  red  sons  of  Manito.  His  blood  shall  be  their 
war-paint  of  vengeance.  They  shall  kill  man  for  man 
and  race  for  race.  From  the  king  of  hills  to  the  mighty 
vales  and  caverns,  they  shall  betray  you  as  you  have  the 
wronged  red  man,  till  your  hot  fire-water  blood  shall  burn 
in  millions  of  fires  and  light  their  dance  of  freedom. 


THE  BOAT-RACE. 

From  *'  Queen  Hynde." 

FOURTEEN  fair  barges  in  a  row 
Started  at  once  with  heaving  prow ; 
With  colors,  flags,  and  plumes  bedight ; 
It  was  forsooth  a  comely  sight ! 
King  Eric's  seven  good  rowers  swarth, 
Chosen  from  all  the  sinewy  north, 
Were  men  of  such  gigantic  parts, 
And  science  in  the  naval  arts. 
And  with  such  force  their  flashes  hurled, 
They  feared  no  rowers  of  this  world. 

King  Eric,  crowned  with  many  a  gem, 
Took  station  on  his  barge's  stem  ; 
Secure  of  victory,  and  proud 
To  shoot  before  the  toiling  crowd, 
And  spring  the  first  upon  the  shore; 
Full  oft  he'd  done  the  same  before. 


368  ADVANCED    ELOCUTION 

Seven  boats  of  either  nation  bore, 
In  proud  array  from  Keila's  shore, 
With  equal  confidence  endow'd ; 
To  each  seven  rowers  were  allowed ; 
But  by  the  way  they  spied,  with  glee, 
That  one  Scots  barge  had  only  three, 
And  she  was  bobbing  far  behind, 
As  toiling  with  the  tide  and  wind ; 
The  rowers  laugh'd  till  all  the  firth 
Resounded  with  the  boist'rous  mirth. 

Around  an  isle  the  race  was  set, 
A  nameless  isle,  and  nameless  yet ; 
And  when  they  turn'd  its  southern  mull. 
The  wind  and  tide  were  fair  and  full ; 
Then  'twas  a  cheering  sight  to  view 
How  swift  they  skimmed  the  ocean  blue  ; 
How  lightly  o'er  the  wave  they  scoop'd ; 
Then  down  into  the  valley  swoop'd  ; 
Like  flock  of  sea-birds  gliding  home, 
They  scarcely  touch'd  the  floating  foam. 
But  like  dim  shadows  through  the  rain. 
They  swept  across  the  heaving  main ; 
While  in  the  spray,  that  flurr'd  and  gleam'd 
A  thousand  little  rainbows  beam'd. 

King  Eric's  bark,  like  pilot  swan. 
Aright  before  the  centre  ran, 
Stemming  the  current  and  the  wind 
For  all  his  cygnet  fleet  behind, 
And  proudly  look'd  he  back  the  while, 
With  lofty  and  imperial  smile. 
O  mariners !  why  all  that  strife  ? 
Why  plash  and  plunge  'twixth  death  and  life? 
When  'tis  as  plain  as  plain  can  be, 
That  barge  is  mistress  of  the  sea. 


THE   BOAT-RACE  369 

Pray  not  so  fast,  Sir  Minstrel  rath  ! 
Look  back  upon  that  foamy  path, 
As  Eric  does  with  doubtful  eye, 
On  little  boat  that  gallantly 
Escapes  from  out  the  flashing  coil, 
And  presses  on  with  eager  toil, 
Full  briskly  stemming  tide  and  wind, 
And  following  Eric  hard  behind ; 
And,  worst  of  all  for  kingly  lot, 
Three  rowers  only  man  the  boat ! 

*'  Ply,  rowers,  ply !    We're  still  ahead. 
Lean  from  your  oars — shall  it  be  said 
That  the  seven  champions  of  the  sea 
Were  beat  outright  by  random  three ! 
Ply,  rowers,  ply !     She  gains  so  fast, 
I  hear  their  flouts  upon  us  cast. 
'Tis  the  small  boat,  as  I'm  on  earth ! 
That  gave  so  much  untimely  mirth. 

"  Curse  on  her  speed  !    Strain,  rowers,  strain !" 
Impatient  Eric  cried  again ; 
"  See  how  she  cleaves  the  billow  proud. 
Like  eagle  through  a  wreathy  cloud : 
Strain,  vassals,  strain  !     If  we're  outrun. 
By  moving  thing  below  the  sun, 
I  swear  by  Odin's  mighty  hand, 
I'll  sink  the  boat  and  swim  to  land !" 

Hard  toil'd  King  Eric's  giant  crew ; 
Their  faces  grim  to  purple  grew ; 
At  last  their  cheering  loud  ye-ho 
Was  changed  into  a  grunt  of  woe. 
For  she,  the  little  bark  despised. 
And  foully  at  the  first  misprised, 

24 


370  ADVANCED  ELOCUnON 

Came  breasting  up  with  skimming  motion. 
Scarce  gurgling  in  the  liquid  ocean ; 
And  by,  and  by,  and  by  she  bore. 
With  whoop  of  joy  and  dash  of  oar ! 
The  foremost  rower  plied  his  strength 
On  two  oars  of  tremendous  length, 
Which  boards  on  further  end  reveal'd. 
Broader  than  Eric's  gilded  shield  ; 
The  monarch  trembled  and  look'd  grave 
To  see  the  strokes  that  rower  gave. 

Just  then  he  heaved  his  oars  behind, 
Like  falcon's  wings  lean'd  to  the  wind 
As  pass'd  his  little  pinnace  plain 
The  monarch's  meteor  of  the  main ; 
And,  as  he  bent  his  might  to  row. 
He  struck  King  Eric's  gilded  prow 
With  such  a  bounce  and  such  a  heave. 
That  back  she  toppled  o'er  the  wave, 
And  nigh  had  thrown,  as  nigh  could  be, 
Her  king  and  champions  in  the  sea, 
"  Ho !  oar-room,  friends !  5'our  distance  keep," 
Cried  that  rude  Hector  of  the  deep ; 

"Ye-ho!  ye-ho! 

How  well  we  go ! 
Ours  is  the  bark  that  fears  no  foe  !'* 

James  Hogg. 


BBOOLLECTHUG  OF  MY  CHRr^TMAS  TREE  S71 


RBOOLLECTIOXS  OF  MY  CHRISTMAS  TREK 

I  HAVE  been  lookiiig  on,  this  eviaiiiig,  at  a  la&ij  com- 
pany  of  childroi  aaaonbled  round  that  pr^ly  German 
toy,  a  Chiiitmas  tree. 

Being  now  at  home  igain,  and  alone,  the  only  person  in 
the  house  awake,  my  thoughts  are  drawn  back,  by  a 
fascination  which  I  do  not  care  to  nssLst,  to  my  childhood. 
Straight  in  the  middle  erf  the  room,  cnmiped  in  the  frv^ 
dom  of  its  growth  by  no  encir^^ling  walls  or  soon-reached 
odling,  a  shadowy  tree  arises;  and,  locking  up  into  the 
dreamy  brightness  of  its  top — for  1  observe  in  tliis  tree  the 
aJTigtiLar  property  that  it  appears  to  grow  downward 
towards  the  earth — I  look  into  my  youngest  Christmas 
recollections. 

All  toys  at  first  I  find.  But  upon  the  branches  of  the 
tree,  lower  down,  how  thick  the  books  begin  to  hang! 
Thin  books,  in  themsdres,  at  firsts  but  many  of  them  with 
delkioQalj  smooth  ootos  ni  bright  red  or  grem.  What 
fat  Um^  lefclos  to  begin  with ! 

^  A  was  an  archer,  and  shot  at  a  frog."  Of  course  he 
was.  He  was  an  a{^le  pie  also,  and  th«e  he  is !  He  was 
a  good  many  things  in  his  time^  was  A,  and  so  were  most 
of  his  friaids,  except  X,  who  had  so  little  versatility  that 
I  never  knew  him  to  get  beyond  Xerxes  or  Xaiitippe ;  like 
Y,  who  was  always  confined  to  a  yacht  or  a  yew-tree ;  and 
Z,  ooodemned  forevo*  to  be  a  vhrn  or  a  lany. 

But  now  the  very  tree  itself  changes,  and  becomes  a 
bean-stalk — the  marvellous  bean-^talk  by  which  Jack 
dimbed  np  to  the  giant  s  house.  Jack — how  noble,  with 
his  sword  of  sharpness  and  his  shoes  of  swiftness ! 

Good  for  C3iiistmas-time  is  the  ruddy  color  of  the  cloak 
in  whidi,  the  tree  making  a  forest  of  itsdf  for  her  to  trip 


372  ADVANCED    ELOCUTION 

through  with  her  basket,  Little  Red  Riding-Hood  comes 
to  me  one  Christmas  Eve  to  give  me  information  of  the 
cruelty  and  treachery  of  that  dissembling  wolf  who  ate  her 
grandmother,  without  making  any  impression  on  his  ap- 
petite, and  then  ate  her,  after  making  that  ferocious  joke 
about  his  teeth.  She  was  my  first  love.  I  felt  that  if  I 
could  have  married  Little  Red  Riding-Hood  I  should  have 
known  perfect  bliss.  But  it  was  not  to  be,  and  there  is 
nothing  for  it  but  to  look  out  the  wolf  in  Noah's  Ark 
there,  and  put  him  late  in  the  procession  on  the  table,  as 
a  monster  who  was  to  be  degraded. 

Oh,  that  wonderful  Noah's  Ark !  It  was  not  found  sea- 
worthy when  put  in  a  washing-tub,  and  the  animals  were 
crammed  in  at  the  roof,  and  needed  to  have  their  legs  well 
shaken  down  before  they  could  be  got  in  even  then ;  and 
then  ten  to  one  they  began  to  tumble  out  at  the  door, 
which  was  but  imperfectly  fastened  with  a  wire  latch ;  but 
what  was  that  against  it  ? 

Consider  the  noble  fly,  a  size  or  two  smaller  than  the 
elephant;  the  lady-bird,  the  butterfly — all  triumphs  of 
art  I  Consider  the  goose,  whose  feet  were  so  small  and 
whose  balance  was  so  indifferent  that  he  usually  tumbled 
forward  and  knocked  down  all  the  animal  creation !  Con- 
sider Noah  and  his  family,  like  idiotic  tobacco-stoppers ; 
and  how  the  leopard  stuck  to  warm  little  fingers ;  and 
how  the  tails  of  the  larger  animals  used  gradually  to  re- 
solve themselves  into  frayed  bits  of  string. 

Hush  !  Again  a  forest,  and  somebody  up  in  a  tree — not 
Robin  Hood,  not  Valentine,  not  the  Yellow  Dwarf — I  have 
passed  him  and  all  Mother  Bunch's  wonders  without  men- 
tion— but  an  Eastern  King,  with  a  glittering  scymetar 
and  turban.  It  is  the  setting  in  of  the  bright  Arabian 
Nights. 

Oh,  now  all  common  things  become  uncommon  and 
enchanted  to  me !    All  lamps  are  wonderful !    All  rings 


RECOLLECTIONS  OF   MY  CHRISTMAS  TREE  373 

are  talismans !  Common  flower-pots  are  full  of  treasure, 
with  a  little  earth  scattered  on  the  top ;  trees  are  for  All 
Baba  to  hide  in ;  beefsteaks  are  to  throw  down  into  the 
Valley  of  Diamonds,  that  the  precious  stones  may  stick  to 
them,  and  be  carried  by  the  eagles  to  their  nests,  whence 
the  traders,  with  loud  cries,  will  scare  them.  All  the  dates 
imported  come  from  the  same  tree  as  that  unlucky  one 
with  whose  shell  the  merchant  knocked  out  the  eye  of  the 
genii's  invisible  son.  All  olives  are  of  the  same  stock  of 
that  fresh  fruit  concerning  which  the  Commander  of  the 
Faithful  overheard  the  boy  conduct  the  fictitious  trial  of 
the  olive  merchant.  Yes,  on  every  object  that  I  recognize 
among  those  upper  branches  of  my  Christmas  tree  I  see 
this  fairy  light ! 

But  hark !  the  Waits  are  playing,  and  they  break  my 
childish  sleep !  What  images  do  I  associate  with  the 
Christmas  music  as  I  see  them  set  forth  on  the  Christmas 
tree !  Known  before  all  the  others,  keeping  far  apart  from 
all  the  others,  they  gather  round  my  little  bed.  An  angel, 
speaking  to  a  group  of  shepherds  in  a  field  ;  some  trav- 
elers, with  eyes  uplifted,  following  a  star ;  a  baby  in  a 
manger ;  a  child  in  a  spacious  temple,  talking  with  grave 
men;  a  solemn  figure,  with  a  mild  and  beautiful  face, 
raising  a  dead  girl  by  the  hand ;  again,  near  a  city  gate, 
calling  back  the  son  of  a  widow,  on  his  bier,  to  life ;  a 
crowd  of  people  looking  through  the  opened  roof  of  a 
chamber  where  He  sits,  and  letting  down  a  sick  person  on 
a  bed,  with  ropes ;  the  same,  in  a  tempest,  walking  on  the 
waters ;  in  a  ship,  again,  on  a  seashore,  teaching  a  great 
multitude ;  again,  with  a  child  upon  His  knee,  and  other 
children  around;  again,  restoring  sight  to  the  blind, 
speech  to  the  dumb,  hearing  to  the  deaf,  health  to  the 
sick,  strength  to  the  lame,  knowledge  to  the  ignorant ; 
again,  dying  upon  a  cross,  watched  by  armed  soldiers,  a 
darkness  coming  on,  the  earth  beginning  to  shake,  and 


374  ADVANCED   ELOCUTION 

only  one  voice  heard,  "  Forgive  them,  for  they  know  not 
what  they  do !" 

Encircled  by  the  social  thoughts  of  Christmas  time,  still 
let  the  benignant  figure  of  my  childhood  stand  unchanged  ! 
In  every  cheerful  image  and  suggestion  that  the  season 
brings,  may  the  bright  star  that  rested  above  the  poor  roof 
be  the  star  of  all  the  Christian  world ! 

A  moment's  pause,  O  vanishing  tree,  of  which  the  lower 
boughs  are  dark  to  me  yet,  and  let  me  look  once  more.  I 
know  there  are  blank  spaces  on  thy  branches,  where  eyes 
that  I  have  loved  have  shone  and  smiled,  from  which  they 
are  departed.  But,  far  above,  I  see  the  Raiser  of  the  dead 
girl  'and  the  widow's  son — and  God  is  good. 

Charles  Dickens. 


FROM   MUCH   ADO  ABOUT  NOTHING  375 


EXTRACTS  FROM  SHAKESPEARE. 

IN  THE  FORM  OF  APPEAL,  ADDRESS,  SOLILOQUY,  AND 
COLLOQUY. 


From  Much  Ado  About  Nothing. 

Benedick's  Soliloquy  after  casually  overhearing  a  purposed  parley  of  his  three 
friends  regarding  the  Lady  Beatrice. 

THIS  can  be  no  trick ;  the  conference  was  sadly  borne. 
They  have  the  truth  of  this  from  Hero.  They  seem 
to  pity  the  lady ;  it  seems  her  affections  have  their  full 
bent.  Love  me!  Why,  it  must  be  requited.  I  hear 
how  I  am  censured :  they  say  I  will  bear  myself  proudly, 
if  I  perceive  the  love  come  from  her ;  they  say,  too,  that 
she  will  rather  die  than  give  any  sign  of  affection.  I  did 
never  think  to  marry :  I  must  not  seem  proud ;  happy 
are  they  that  hear  their  detractions  and  can  put  them  to 
mending.  They  say  the  lady  is  fair ;  'tis  a  truth,  I  can 
bear  them  witness  :  and  virtuous ;  'tis  so,  I  cannot  reprove 
it :  and  wise,  but  for  loving  me ;  by  my  troth,  it  is  no 
addition  to  her  wit,  nor  no  great  argument  of  her  folly, 
for  I  will  be  horribly  in  love  with  her.  I  may  chance 
have  some  odd  quirks  and  remnants  of  wit  broken  on 
me,  because  I  have  railed  so  long  against  marriage ;  but 
doth  not  the  appetite  alter?  A  man  loves  the  meat 
in  his  youth,  that  he  cannot  endure  in  his  age.  Shall 
quips  and  sentences  and  these  paper  bullets  of  the  brain 
awe  a  man  from  the  career  of  his  humor  ?  No.  When 
I  said  I  would  die  a  bachelor,  I  did  not  think  I  should 
live  till  I  were  married.  If  I  do  not  take  pity  of  her,  I 
am  a  villain ;  if  I  do  not  love  her,  I  am  a  Jew.  I  will  go 
get  her  picture. 


376  ADVANCED    ELOCUTION 


Prom  King  John. 
Constance's  denunciation  of  King  Philip  of  France  and  Lymoges  of  Austria. 

YOU  have  beguil'd  me  with  a  counterfeit 
Resembling  majesty,  which,  being  touch'd  and  tried, 
Proves  valueless ;  you  are  forsworn,  forsworn ; 
You  came  in  arms  to  spill  mine  enemies'  blood, 
But  now  in  arms  you  strengthen  it  with  yours. 
The  grappling  vigor  and  rough  frown  of  war 
Is  cold  in  amity  and  painted  peace, 
And  our  oppression  hath  made  up  this  league. 
Arm,  arm,  you  heavens,  against  these  perjur'd  kings ! 
A  widow  cries :  be  husband  to  me,  heavens ! 
Let  not  the  hours  of  this  ungodly  day 
Wear  out  the  day  in  peace ;  but,  ere  sunset, 
Set  armed  discord  'twixt  these  perjur'd  kings! 
.  .  .  War !  War !     No  peace  !  Peace  is  to  me  a  war. 
O  Lymoges !  0  Austria !  thou  dost  shame 
That  bloody  spoil ;  thou  slave,  thou  wretch,  thou  coward ! 
Thou  little  valiant,  great  in  villainy ! 
Thou  ever  strong  upon  the  stronger  side ! 
Thou  Fortune's  champion  that  dost  never  fight 
But  when  her  humorous  ladyship  is  by 
To  teach  thee  safety  !  thou  art  perjur'd  too, 
And  sooth 'st  up  greatness.     What  a  fool  art  thou, 
A  ramping  fool,  to  brag  and  stamp  and  swear 
Upon  my  party.     Thou  cold-blooded  slave. 
Hast  thou  not  spoke  like  thunder  on  my  side, 
Been  sworn  my  soldier,  bidding  me  depend 
Upon  thy  stars,  thy  fortune,  and  thy  strength, 
And  dost  thou  now  fall  over  to  my  foes  ? 
Thou  wear  a  lion's  hide !  dofif  it  for  shame. 
And  hang  a  calf's  skin  on  thy  recreant  limbs. 


FROM  KING  HENRY  VIH.  377 


Prom  King  Henry  VIII. 

Queen  Katharine's  appeal  to  King  Henry,  on  the  assembling  of  the  ecclesiastical 
court,  in  regard  to  the  question  of  the  divorce. 

SIR,  I  desire  you  do  me  right  and  justice, 
And  to  bestow  your  pity  on  me ;  for 
I  am  a  most  poor  woman,  and  a  stranger, 
Born  out  of  your  dominions  ;  having  here 
No  judge  indifferent,  nor  no  more  assurance 
Of  equal  friendship  and  proceeding.     Alas,  sir, 
In  what  have  I  offended  you  ?    What  cause 
Hath  my  behavior  given  to  your  displeasure. 
That  thus  you  should  proceed  to  put  me  off. 
And  take  your  good  grace  from  me  ?    Heaven  witness 
I  have  been  to  you  a  true  and  humble  wife. 
At  all  times  to  your  will  conformable : 
Ever  in  fear  to  kindle  your  dislike. 
Yea,  subject  to  your  countenance ;  glad  or  sorry, 
As  I  saw  it  inclin'd.     When  was  the  hour 
I  ever  contradicted  your  desire, 

Or  made  it  not  mine  too  ?     Or  which  of  your  friends 
Have  I  not  strove  to  love,  although  I  knew 
He  were  mine  enemy  ?  what  friend  of  mine. 
That  had  to  him  deriv'd  your  anger,  did  I 
Continue  in  my  liking  ?  nay,  gave  notice 
He  was  from  thence  discharg'd.     Sir,  call  to  mind 
That  I  have  been  your  wife,  in  this  obedience, 
Upward  of  twenty  years,  if  in  the  course 
And  process  of  this  time,  you  can  report. 
And  prove  it  too,  against  mine  honor  aught, 
My  bond  to  wedlock,  or  my  love  and  duty. 
Against  your  sacred  person,  in  Heaven's  name, 
Turn  me  away ;  and  let  the  foul'st  contempt 
Shut  door  upon  me,  and  so  give  me  up 
To  the  sharp'st  kind  of  justice.     Please  you,  sir, 


378  ADVANCED    ELOCUTION 

The  King,  your  father,  was  reputed  for 

A  prince  most  prudent,  of  an  excellent 

And  unmatch'd  wit  and  judgment :  Ferdinand, 

My  father,  King  of  Spain,  was  reckon'd  one 

The  wisest  prince,  that  there  had  reign'd  by  many 

A  year  before :  it  is  not  to  be  question 'd 

That  they  had  gather'd  a  wise  counsel  to  them 

Of  every  realm,  that  did  debate  this  business. 

Who  deem'd  our  marriage  lawful.    Wherefore  I  humbly 

Beseech  you,  sir,  to  spare  me,  till  I  may 

Be  by  my  friends  in  Spain  advis'd,  whose  counsel 

I  will  implore ;  if  not,  i'  th'  name  of  Heaven, 

Your  pleasure  be  fulfill'd  ! 


From  Hamlet. 

Remorse  of  King  Claudius. 

OMY  offense  is  rank,  it  smells  to  heaven ; 
»      It  hath  the  primal  eldest  curse  upon't, 
A  brother's  murther  !     Pray  can  I  not. 
Though  inclination  be  as  sharp  as  will ; 
My  stronger  guilt  defeats  my  strong  intent, 
And,  like  a  man  to  double  business  bound, 
I  stand  in  pause  where  I  shall  first  begin. 
And  both  neglect.     What  if  this  cursed  hand 
Were  thicker  than  itself  with  brother's  blood. 
Is  there  not  rain  enough  in  the  sweet  heavens 
To  wash  it  white  as  snow  ?     Whereto  serves  mercy 
But  to  confront  the  visage  of  offense  ? 
And  what's  in  prayer  but  this  twofold  force, — 
To  be  forestalled  ere  we  come  to  fall, 
Or  pardon 'd  being  down  ?    Then  I'll  look  up ; 
My  fault  is  past.     But,  0,  what  form  of  prayer 
Can  serve  my  turn  ?     '  Forgive  me  my  foul  murther?' 
That  cannot  be ;  since  I  am  still  possess'd 
Of  those  effects  for  which  I  did  the  murther, 


FROM    THE   MERCHANT    OF   VENICE  379 

My  crown,  mine  own  ambition,  and  my  queen. 

May  one  be  pardon'd  and  retain  the  offense  ? 

In  the  corrupted  currents  of  this  world 

Offense's  gilded  hand  may  shove  by  justice, 

And  oft  t'is  seen  the  wicked  prize  itself 

Buys  out  the  law ;  but  'tis  not  so  above : 

There  is  no  shuffling,  there  the  action  lies 

In  his  true  nature,  and  Ave  ourselves  compell'd 

Even  to  the  teeth  and  forehead  of  our  faults 

To  give  in  evidence.     What  then?  what  rests? 

Try  what  repentance  can :  what  can  it  not  ? 

Yet  what  can  it  when  one  can  not  repent  ? 

0  wretched  state  !  O  bosom  black  as  death  I 

0  limed  soul,  that  struggling  to  be  free 

Art  more  engag'd !     Help,  Angels  !     Make  assay ! 

Bow,  stubborn  knees ;  and,  heart  with  strings  ot  steel, 

Be  soft  as  sinews  of  the  new-born  babe  ! 

All  may  be  well. 

*  *  *  *  *  * 

My  words  fly  up,  my  thoughts  remain  below ; 
Words  without  thoughts  never  to  heaven  go  I 


Prom  The  Merchant  of  Venice. 

Portia's  Speech  to  Bassanio,  on  his  chDice  of  the  Casket. 

YOU  see  me.  Lord  Bassanio,  where  I  stand, 
Such  as  I  am  :  though  for  myself  alone 
I  would  not  be  ambitious  in  my  wish, 
To  wish  myself  much  better ;  yet,  for  you 
I  would  be  trebled  twenty  times  myself, 
A  thousand  times  more  fair,  ten  thousand  times  more  rich, 
That  only  to  stand  high  in  your  account, 
I  might  in  virtues,  beauties,  livings,  friends, 
Exceed  account :  but  the  full  sum  of  me 
Is  sum  of  nothing ;  which,  to  term  in  gross, 


380  ADVANCED    ELOCUTION 

Is  an  unlesson'd  girl,  unschool'd  unpractic'd ; 
Happy  in  this,  she  is  not  so  old 
But  she  may  learn ;  happier  than  this, 
She  is  not  bred  so  dull  but  she  can  learn ; 
Happiest  of  all  is  that  her  gentle  spirit 
Commits  itself  to  yours  to  be  directed, 
As  from  her  lord,  her  governor,  her  king. 
Myself  and  what  is  mine  to  you  and  yours 
Is  now  converted :  but  now  I  was  the  lord 
Of  this  fair  mansion,  master  of  my  servants, 
Queen  o'er  myself ;  and  even  now,  but  now. 
This  house,  these  servants,  and  this  same  myself, 
Are  yours,  my  lord.     I  give  them  with  this  ring ; 
Which  when  you  part  from,  lose,  or  give  away, 
Let  it  presage  the  ruin  of  your  love, 
And  be  my  vantage  to  exclaim  on  you. 


Prom  As  You  Like  It. 

Adam's  warning  and  persuasion  of  his  Young  Master  Orlando. 

WHAT,  my  young  master  ?    0  m}''  gentle  master  I 
O  my  sweet  master !     0  you  memory 
Of  old  Sir  Rowland !     Why,  what  make  you  here? 
Why  are  you  virtuous  ?    Why  do  people  love  you  ? 
And  wherefore  are  you  gentle,  strong,  and  valiant? 
Why  would  you  be  so  fond  to  overcome 
The  bonny  priser  of  the  humorous  duke? 
Your  praise  is  come  too  swiftly  home  before  you. 
Know  you  not,  master,  to  some  kind  of  men 
Their  .graces  serve  them  but  as  enemies  ? 
No  more  do  yours :  your  virtues,  gentle  master, 
Are  sanctified  and  holy  traitors  to  you. 
O  what  a  world  is  this,  when  what  is  comely 
Envenoms  him  that  bears  it ! 
.    .     .     O  unhappy  youth ! 


FROM    AS   YOU   LIKE    IT  381 

Come  not  within  these  doors ;  within  this  roof 

The  enemy  of  all  your  graces  lives : 

Your  brother — no,  no  brother ;  yet  the  son — 

Yet  not  the  son,  I  will  not  call  him  son 

Of  him  I  was  about  to  call  his  father — 

Hath  heard  your  praises,  and  this  night  he  means 

To  burn  the  lodging  where  you  use  to  lie 

And  you  within  it ;  if  he  fiiil  of  that, 

He  will  have  other  means  to  cut  you  off. 

I  overheard  him  in  his  practices. 

This  is  no  place ;  this  house  is  but  a  butchery ; 

Abhor  it,  fear  it,  do  not  enter  it. 

.     .     .     I  have  five  hundred  crowns, 

The  thrifty  hire  I  sav'd  under  your  father, 

Which  I  did  store  to  be  my  foster-nurse 

When  service  should  in  my  old  limbs  lie  lame 

And  unregarded  age  in  corners  thrown ; 

Take  that,  and  He  that  doth  the  ravens  feed, 

Yea,  providently  caters  for  the  sparrow. 

Be  comfort  to  my  age !    Here  is  the  gold ; 

Though  I  look  old,  yet  I  am  strong  and  lusty ; 

For  in  my  youth  I  never  did  apply 

Hot  and  rebellious  liquors  in  my  blood, 

Nor  did  not  with  unbashful  forehead  woo 

The  means  of  weakness  and  debility  ; 

Therefore  my  age  is  as  a  lusty  winter, 

Frosty,  but  kindly.     Let  me  go  with  you ; 

I'll  do  the  service  of  a  younger  man 

In  all  your  business  and  necessities. 

Master,  go  on,  and  I  will  follow  thee, 
To  the  last  gasp,  with  truth  and  loyalty. 


382 


ADVANCED    ELOCUTION 


From  King  Henry  VIII. 

Buckingham's  address  to  the  populace  on  his  way  to  execution. 

ALL  good  people, 
You  that  have  thus  far  come  to  pity  me, 
Hear  what  I  say,  and  then  go  home  and  lose  me. 
I  have  this  day  receiv'd  a  traitor's  judgment. 
And  by  that  name  must  die ;  yet,  Heaven  bear  witness, 
And  if  I  have  a  conscience,  let  it  sink  me, 
Even  as  the  axe  falls,  if  I  be  not  faithful. 
The  law  I  bear  no  malice  for  my  death, 
'T  has  done  upon  the  premises  but  justice ; 
But  those  that  sought  it  I  could  wish  more  Christians 
Be  what  they  will,  I  heartily  forgive  'em. 
Yet  let  'em  look  they  glory  not  in  mischief. 
Nor  build  their  evils  on  the  graves  of  great  men  ; 
For  then  my  guiltless  blood  must  cry  against  'em. 
For  further  life  in  this  world  I  ne'er  hope. 
Nor  will  I  sue,  although  the  king  have  mercies 
More  than  I  dare  make  faults.  .  .  . 

Commend  me  to  his  grace ; 
And,  if  he  speak  of  Buckingham,  pray  tell  him, 
You  met  him  half  in  Heaven.     My  vows  and  prayers 
Yet  are  the  king's ;  and,  till  my  soul  forsake, 
Shall  cry  for  blessings  on  him  :  may  he  live 
Longer  than  I  have  time  to  tell  his  years ! 
Ever  belov'd  and  loving  may  his  rule  be ! 
And  when  old  Time  shall  lead  him  to  his  end, 
Goodness  and  he  fill  iip  one  monument. 

«l^  «J^  *J^  %^  vi«  M^ 

J^  *^  ^^  "T*  *T^  *T* 

You  few  that  lov'd  me. 
And  dare  be  bold  to  weep  for  Buckingham, 
His  noble  friends  and  fellows,  whom  to  leave 
Is  only  bitter  to  him  only  dying, 


PROM   AS  YOU   LIKE  IT 


383 


Go  with  me,  like  good  angels,  to  my  end ; 
And,  as  the  long  divorce  of  steel  falls  on  me, 
Make  of  your  prayers  one  sweet  sacrifice, 
And  lift  my  soul  to  Heaven. — Lead  on. 


From  As  You  Like  It. 

The  colloquy  of  Orlando  and  Rosalind,  on  unexpectedly  meeting  in  the 
Forest  of  Arden.  Orlando  does  not  recognize  Rosalind,  who  is  dressed  In  the 
garb  of  a  shepherd  lad. 

ROSALIND  (adde).  I  will  speak  to  him  like  a  saucy 
lackey,  and  under  that  habit  play  the  knave  with 
him.     Do  you  hear,  forester  ? 

Orlando.  Very  well ;  what  would  you  ? 

Rosalind.  I  pray  you,  what  is  't  o'clock  ? 

Orlando.  You  should  ask  me  what  time  o'  day ;  there's 
no  clock  in  the  forest. 

Rosalind.  Then  there  is  no  true  lover  in  the  forest; 
else  sighing  every  minute  and  groaning  every  hour  would 
detect  the  lazy  foot  of  Time  as  well  as  a  clock. 

Orlando.  And  why  not  the  swift  foot  of  Time  ?  had  not 
that  been  as  proper  ? 

Rosalind.  By  no  means,  sir.  Time  travels  in  divers 
paces  with  divers  persons.  I'll  tell  you  who  Time  ambles 
withal,  who  Time  trots  withal,  who  Time  gallops  withal, 
and  who  he  stands  still  withal. 

Orlando.  I  prithee  who  doth  he  trot  withal  ? 

Rosalind.  Marry,  he  trots  hard  with  a  young  maid 
between  the  contract  of  her  marriage  and  the  day  it  is 
solemnized ;  if  the  interim  be  a  se'nnight,  Time's  pace  is  so 
hard  that  it  seems  the  length  of  seven  year. 

Orlando.  Who  ambles  Time  withal  ? 

Rosalind.  With  a  priest  that  lacks  Latin,  and  a  rich 
man  that  hath  not  the  gout ;  for  the  one  sleeps  easily 
because  he  cannot  study,  and  the  other  lives  merrily  be- 
cause he  feels  no  pain. 


384  ADVrNCED    ELOCUTION     ' 

Orlando.  Who  doth  he  gallop  withal? 

Rosalind.  With  a  thief  to  the  gallows ;  for  though  he 
go  as  softly  as  foot  can  fall,  he  thinks  himself  too  soon 
there. 

Orlando.  Who  stays  it  withal  ? 

Rosalind.  With  lawyers  in  the  vacation ;  for  they  sleep 
between  term  and  term,  and  then  they  perceive  not  how 
Time  moves. 

Orlando.  Where  dwell  you,  pretty  youth  ? 

Rosalind.  With  this  shepherdess,  my  sister ;  here  in  the 
skirts  of  the  forest,  like  fringe  upon  a  petticoat. 

Orlando.  Are  you  a  native  of  this  place  ? 

Rosalind.  As  the  cony  that  you  see  dw^ell  where  she  is 
kindled. 

Orlando.  Your  accent  is  something  finer  than  you 
could  purchase  in  so  removed  a  dwelling. 

Rosalind.  I  have  been  told  so  of  many  ;  but  indeed  an 
old  religious  uncle  of  mine  taught  me  to  speak,  who  was 
in  his  youth  an  inland  man ;  one  that  knew  courtship  too 
well,  for  there  he  fell  in  love.  I  have  heard  him  read 
many  lectures  against  it,  and  I  thank  Heaven  I  am  not  a 
woman,  to  be  touched  with  so  many  giddy  offenses  as  he 
hath  generally  taxed  their  whole  sex  withal. 

Orlando.  Can  you  remember  any  of  the  principal  evils 
that  he  laid  to  the  charge  of  women  ? 

Rosalind.  There  were  none  principal;  they  were  all 
like  one  another  as  half-pence  are,  every  one  fault  seem- 
ing monstrous  till  his  fellow-fault  came  to  match  it. 

Orlando.     I  prithee  recount  some  of  them. 

Rosalind.  No,  I  will  not  cast  away  my  physic  but  on 
those  that  are  sick.  There  is  a  man  haunts  the  forest,  that 
abuses  our  young  plants  with  carving  Rosalind  on  their 
barks ;  hangs  odes  upon  hawthorns  and  elegies  on 
brambles,  all,  forsooth,  deifying  the  name  of  Rosalind ;  if 
I  could  meet  that  fancy-monger,  I  would  give  him  some 


FROM   AS   YOU   LIKE   IT  385 

good  counsel,  for  he  seems  to  have  the  quotidian  of  love 
upon  him. 

Orlando.  I  am  he  that  is  so  love-shaked ;  I  pray  you, 
tell  me  your  remedy. 

Rosalind.  There  is  none  of  my  uncle's  marks  upon 
you ;  he  taught  me  how  to  know  a  man  in  love ;  in  which 
cage  of  rushes  I  am  sure  you  are  not  prisoner. 

Orlando.  What  were  his  marks  ? 

Rosalind.  A  lean  cheek  which  you  have  not ;  a  blue 
eye  and  sunken,  which  you  have  not;  a-beard  neglected, 
which  you  have  not ;  then  your  hose  should  be  ungar- 
tered,  your  bonnet  unhanded,  your  sleeve  unbuttoned,  your 
shoe  untied ;  and  everything  about  you  demonstrating  a 
careless  desolation.  But  you  are  no  such  man  ;  you  are 
rather  point-device  in  your  accoutrements,  as  loving  your- 
self than  seeming  the  lover  of  any  other. 

Orlando.  Fair  youth,  I  would  I  could  make  thee  be- 
lieve I  love. 

Rosalind.  Me  believe  it!  You  may  as  soon  make  her 
that  you  love  believe  it ;  which  I  warrant  she  is  apter  to 
do,  than  to  confess  she  does.  But,  in  good  sooth,  are  you 
he  that  hangs  the  verses  on  the  trees,  wherein  Rosalind  is 
so  admired  ? 

Orlando.  I  declare  to  thee,  youth,  by  the  white  hand 
of  Rosalind,  I  am  that  he,  that  unfortunate  he. 

Rosalind.  But  are  you  so  much  in  love  as  your  rhymes 
speak  ? 

Orlando.  Neither  rhyme  nor  reason  can  express  how 
much. 

Rosalind.  Love  is  merely  a  madness,  and,  I  tell  you, 
deserves  as  well  a  dark  house  and  a  whip  as  madmen  do ; 
yet  I  profess  curing  it  by  counsel. 

Orlando.  Did  you  ever  cure  any  so  ? 

Rosalind.  Yes,  one,  and  in  this  manner.  He  was  to 
imagine  me  his  love ;  and  I  set  him  every  day  to  woo  me  j 
25 


386  ADVANCED    ELOCUTION 

at  which  time  would  I,  being  but  a  moonish  youth,  grieve, 
be  effeminate,  changeable,  longing  and  liking,  proud, 
fantastical,  apish,  shallow,  inconstant,  full  of  tears,  full  of 
smiles,  for  every  passion  something  and  for  no  passion 
truly  anything ;  would  now  like  him,  now  loathe  him ; 
then  entertain  him,  then  forswear  him  ;  now  weep  for  him, 
then  spit  at  him  ;  that  I  drave  my  suitor  from  his  mad 
humor  of  love  to  a  living  humor  of  madness  ;  which  was, 
to  forswear  the  full  stream  of  the  world,  and  live  in  a  nook 
merely  monastic.  And  thus  I  cured  him  ;  and  this  way 
will  I  take  upon  me  to  wash  your  liver  as  clean  as  a  sound 
sheep's  heart,  that  there  shall  not  be  one  spot  of  love  in't. 

Orlando.  I  would  not  be  cured,  youth. 

Rosalind.  I  would  cure  you,  if  you  would  but  call  me 
Rosalind,  and  come  every  day  to  my  cote  and  woo  me. 

Orlando.  Now,  by  the  faith  of  my  love,  I  will ;  tell  me 
where  it  is. 

Rosalind.  Go  with  me  to  it ;  and  I'll  show  it  you ;  and 
by  the  way  you  shall  tell  me  where  in  the  forest  you  live. 
Will  you  go  ? 

Orlando.  With  all  my  heart,  good  youth. 


From  The  Merchant  of  Venice. 

Colloquy  between  Portia  and  Nerissa  regarding  the  suitors. 

PORTIA.  By  my  troth,  Nerissa,  my  little  body  is  aweary 
of  this  great  world. 

Nerissa.  You  would  be,  sweet  madam,  if  your  miseries 
were  in  the  same  abundance  as  your  good  fortunes  are ; 
and  yet,  for  aught  I  see,  they  are  as  sick  that  surfeit  with 
too  much,  as  they  that  starve  with  nothing.  It  is  no  small 
happiness,  therefore,  to  be  seated  in  the  mean;  super- 
fluity comes  sooner  by  white  hairs,  but  competency  lives 
longer. 

Portia.  Good  sentences,  and  well  pronounced. 


FROM  THE  MERCHANT  OF  VENICE         387 

Nerissa.  They  would  be  better,  if  well  followed. 
Portia.  If  to  do  were  as  easy  as  to  know  what  were 
good  to  do,  chapels  had  been  churches,  and  poor  men's 
cottages  princes'  palaces.  It  is  a  good  divine  that  follows 
his  own  instructions ;  I  can  easier  teach  twenty  what  Avere 
good  to  be  done  than  be  one  of  the  tAV^nty  to  follow  mine 
own  teaching.  The  brain  may  devise  laws  for  the  blood ; 
but  a  hot  temper  leaps  o'er  a  cold  decree.  But  this  reason- 
ing is  not  in  the  fashion  to  choose  me  a  husband.  0  me, 
the  word  choose !  I  may  neither  choose  whom  I  would, 
nor  refuse  whom  I  dislike ;  so  is  the  will  of  a  living 
daughter  curbed  by  the  will  of  a  dead  father.  Is  it  not 
hard,  Nerissa,  that  I  cannot  choose  one,  nor  refuse  none  ? 

Nerissa.  Your  father  was  ever  virtuous,  and  holy  men 
at  their  death  have  good  inspirations ;  therefore  the  lot- 
tery that  he  hath  devised  in  these  three  chests  of  gold, 
silver,  and  lead  (whereof  who  chooses  his  meaning 
chooses  you),  will,  no  doubt,  never  be  chosen  by  any 
rightly  but  one  who  you  shall  rightly  love.  But  what 
warmth  is  there  in  your  affectioUj^  toward  any  of  these 
princely  suitors  that  are  already  come  ? 

Portia.  I  pray  thee,  over-name  them,  and  as  thou 
namest  them,  I  will  describe  them ;  and  according  to  my 
description,  level  at  my  affection. 

Nerissa.  First,  there  is  the  Neapolitan  prince. 
Portia.  Ay,  that's  a  colt  indeed,  for  he  doth  nothing 
but  talk  of  his  horse ;  and  he  makes  it  a  great  appropria- 
tion to  his  own  good  parts,  that  he  can  shoe  him  him- 
self. 

Nerissa.  Then  there  is  the  County  Palatine. 
Portia.  He  doth  nothing  but  frown,  as  who  should  say, 
*An'  you  will  have  me,  choose. '^  He  hears  merry  tales 
and  smiles  not ;  I  fear  he  will  prove  the  weeping  philoso- 
pher when  he  grows  old,  being  so  full  of  unmannerly 
sadness  in   his   youth.      I   had  rather  be  married  to  a 


388  ADVANCED   ELOCUTION 

death's  head  with  a  bone  in  his  mouth  than  to  either  oi 
these.     Heaven  defend  me  from  these  two ! 

Nerissa.  How  say  you  by  the  French  lord.  Monsieur 
LeBon? 

Portia.  God  made  him,  and  therefore  let  him  pass  for 
a  man.  In  truth,  I  know  it  is  a  sin  to  be  a  mocker ;  but, 
he !  Why  he  hath  a  horse  better  than  the  Neapolitan's, 
a  better  bad  habit  of  frowning  than  the  Count  Palatine ; 
he  is  every  man  in  no  man ;  if  a  throstle  sing  he 
falls  straight  a-capering  ;  he  will  fence  with  his  own 
shadow.  If  I  should  marry  him,  I  should  marry  twenty 
husbands.  If  he  would  despise  me,  I  would  forgive  him  ; 
for  if  he  love  me  to  madness,  I  shall  never  requite  him. 

Nerissa.  What  say  you,  then,  to  Falconbridge,  the 
young  baron  of  England  ? 

Portia.  You  know  I  say  nothing  to  him,  for  he  under- 
stands not  me,  nor  I  him ;  I  think  he  bought  his  doublet 
in  Italy,  his  bonnet  in  Germany,  and  his  behavior  every- 
where. 

Nerissa.  How  like  you  the  young  German,  the  Duke  of 
Saxony's  nephew  ? 

Portia.  Very  vilely  in  the  morning,  when  he  is  sober, 
and  most  vilely  in  the  afternoon,  when  he  is  drunk ;  when 
he  is  best,  he  is  a  little  worse  than  a  man,  and  when  he  is 
worst,  he  is  little  better  than  a  beast. 

Nerissa.  If  he  should  offer  to  choose,  and  choose  the 
right  casket,  you  should  refuse  to  perform  your  father's 
will,  if  you  should  refuse  to  accept  him. 

Portia.  Therefore,  for  fear  of  the  worst,  I  pray  thee,  set 
a  deep  glass  of  Rhenish  wine  on  the  contrary  casket ;  for 
if  the  devil  be  within,  and  that  temptation  without,  I  know 
he  will  choose  it.  I  will  do  anything,  Nerissa,  ere  I  will 
be  married  to  a  sponge. 

Nerissa.  You  need  not  fear,  lady,  the  having  any  of 
these  lords ;  they  have  acquainted  me  with  their  determi- 


FROM   THE   MERCHANT   OF   VENICE  389 

nations ;  which  is,  indeed,  to  return  to  their  home,  and  to 
trouble  you  with  no  more  suit,  unless  you  may  be  won  by 
some  other  sort  than  your  father's  imposition  depending 
on  the  caskets. 

Portia.  If  I  live  to  be  as  old  as  Sybilla,  I  will  die  as 
chaste  as  Diana,  unless  I  be  obtained  by  the  manner  of 
my  father's  will.  I  am  glad  this  parcel  of  wooers  are  so 
reasonable,  for  there  is  not  one  among  them  but  I  doat  on 
his  very  absence ;  and  I  wish  them  a  fair  departure. 


390  ADVANCED    ELOCUTION 


FOR  HYMN  READING. 


SAVIOUR!  I  follow  on, 
Guided  by  Thee, 
Seeing  not  yet  the  hand 

That  leadeth  me ; 
Hushed  be  my  heart  and  still, 
Fear  I  no  further  ill, 
Only  to  meet  Thy  will 
My  will  shall  be. 

Riven  the  rock  for  me 

Thirst  to  relieve, 
Manna  from  heaven  falls 

Fresh  every  eve ; 
Never  a  want  severe 
Oauseth  my  eye  a  tear. 
But  Thou  dost  whisper  near, 

"  Only  believe !" 

Often  to  Marah's  brink 

Have  I  been  brought ; 
Shrinking  the  cup  to  drink, 

Help  I  have  sought ; 
And  with  the  prayer's  ascent, 
Jesus  the  branch  hath  rent. 
Quickly  relief  hath  sent. 
Sweetening  the  draught. 

Saviour !  I  long  to  walk 

Closer  with  Thee ; 
Led  by  Thy  guiding  hand, 

Ever  to  be ; 


THE   BREAKING   WAVES   DASHED    HIGH  391 

Constantly  near  Thy  side, 
Quickened  and  purified, 
Living  for  Him  who  died 
Freely  for  me ! 

Hastings. 


IE  AD,  Kindly  Light !  amid  th'  encircling  gloom, 
-^        Lead  Thou  me  on  ; 
The  night  is  dark,  and  I  am  far  from  home, 

Lead  Thou  me  on ; 
Keep  Thou  my  feet ;  I  do  not  ask  to  see 
The  distant  scene ;  one  step  enough  for  me. 

I  was  not  ever  thus,  nor  prayed  that  Thou 

Shouldst  lead  me  on ; 
I  loved  to  choose  and  see  my  path ;  but  now 

Lead  Thou  me  on  ; 
I  loved  the  garish  day,  and  spite  of  fears, 
Pride  ruled  my  will.     Remember  not  past  years. 

So  long  Thy  power  has  blest  me,  sure  it  still 

Will  lead  me  on 
O'er  moor  and  fen,  o'er  crag  and  torrent,  till 

The  night  is  gone ; 
And  with  the  morn  those  angel-faces  smile 
Which  I  have  loved  long  since,  and  lost  awhile. 

Cardinal  Newman. 


THE  breaking  waves  dashed  high 
On  a  stern  and  rock-bound  coast, 
And  the  woods  against  a  stormy  sky 

Their  giant  branches  tossed. 
And  the  heavy  night  hung  dark 

The  hills  and  waters  o'er, 
When  a  band  of  exiles  moor'd  their  bark 
On  the  wild  New  England  shore. 


392  ADVANCED    ELOCUTION 

Not  as  the  conqueror  comes, 

They,  the  true-hearted,  came ; 
Not  with  the  roll  of  the  stirring  drums, 

And  the  trumpet  that  sings  of  fame ; 
Not  as  the  flying  come. 

In  silence  and  in  fear ; 
They  shook  the  depths  of  the  desert  gloom 

With  their  hymns  of  lofty  cheer. 

Amidst  the  storm  they  sang. 

And  the  stars  heard  and  the  sea ! 
And  the  sounding  aisles  of  the  dim  woods  rang 

To  the  anthem  of  the  free ! 
The  ocean  eagle  soar'd 

From  his  nest  by  the  white  wave's  foam. 

And  the  rocking  pines  of  the  forest  roar'd — 

This  was  their  welcome  home  ! 
*  *  *  *  :^  4: 

What  sought  they  thus  afar — 

Bright  jewels  of  the  mine? 
The  wealth  of  seas,  the  spoils  of  war  ? — 

They  sought  a  faith's  pure  shrine ! 
Aye,  call  it  holy  ground. 

The  soil  where  first  they  trode ! 
They  have  left  unstain'd  what  there  they  found — 

Freedom  to  worship  God. 

Felicia  D.  Hemans. 


SOMETIMES  a  light  surprises 
The  Christian  while  he  sings ; 
It  is  the  Lord,  who  rises 

With  healing  in  His  wings : 
When  comforts  are  declining. 

He  grants  the  soul  again 
A  season  of  clear  shining, 
To  cheer  it  after  rain. 


393 


MY   FAITH    LOOKS   UP   TO   THEE 

In  holy  contemplation, 

We  sweetly  then  pursue 
The  theme  of  God's  salvation, 

And  find  it  ever  new ; 
Set  free  from  present  sorrow, 

We  cheerfully  can  say, 
Let  the  unknown  to-morrow 

Bring  with  it  what  it  may. 

It  can  bring  with  it  nothing 

But  He  will  bear  us  through ; 
Who  gives  the  lilies  clothing. 

Will  clothe  His  people,  too : 
Beneath  the  spreading  heavens. 

No  creature  but  is  fed ; 
And  He  who  feeds  the  ravens. 

Will  give  His  children  bread. 

Though  vine  nor  fig-tree  neither 

Their  wonted  fruit  should  bear. 
Though  all  the  fields  should  wither, 

Nor  flocks  nor  herds  be  there ; 
Yet  God  the  same  abiding, 

His  praise  shall  tune  my  voice, 
For  while  in  Him  confiding, 

I  cannot  but  rejoice. 

William  Cowper. 


MY  faith  looks  up  to  Thee, 
Thou  Lamb  of  Calvary, 
Saviour  divine  ! 
Now  hear  me  while  I  pray, 
Take  all  my  guilt  away, 
Oh,  let  me  from  this  day 
Be  wholly  Thine  1 


394  ADVANCED    ELOCUTION 

May  Thy  rich  grace  impart 
Strength  to  my  fainting  heart ; 

My  zeal  inspire. 
As  Thou  hast  died  for  me, 
Oh,  may  my  love  to  Thee 
Pure,  warm,  and  changeless  be, 

A  living  fire. 

While  life's  dark  maze  I  tread, 
And  griefs  around  me  spread, 

Be  Thou  my  guide ; 
Bid  darkness  turn  to  day, 
Wipe  sorrow's  tears  away, 
Nor  let  me  ever  stray 

From  Thee  aside. 

When  ends  life's  transient  dream. 
When  death's  cold,  sullen  stream 

Shall  o'er  me  roll. 
Blest  Saviour !  then,  in  love, 
Fear  and  distrust  remove ; 
Oh,  bear  me  safe  above, 

A  ransomed  soul  I 

Ray  Palmer. 


AWAKE,  my  soul,  stretch  every  nerve, 
And  press  with  vigor  on ; 
A  heavenly  race  demands  thy  zeal. 
And  an  immortal  crown. 

A  cloud  of  witnesses  around 

Hold  thee  in  full  survey ; 
Forget  the  steps  already  trod. 

And  onward  urge  thy  way. 


ABIDE  WITH  ME  '  395 

'Tis  God's  all-animating  voice, 

That  calls  thee  from  on  high ; 
'Tis  His  own  hand  presents  the  prize, 

To  thine  aspiring  eye. 

Blest  Saviour,  introduced  by  Thee, 

Have  I  my  race  begun ; 

And,  crowned  with  victory,  at  Thy  feet 

I'll  lay  my  honors  down. 

Doddridge. 


ABIDE  with  me  !     Fast  falls  the  eventide. 
The  darkness  deepens — Lord,  with  me  abide ! 
When  other  helpers  fail,  and  comforts  flee, 
Help  of  the  helpless,  oh,  abide  with  me ! 

Swift  to  its  close  ebbs  out  life's  little  day ; 
Earth's  joys  grow  dim,  its  glories  pass  away ; 
Change  and  decay  in  all  around  I  see ; 

0  Thou,  who  changest  not,  abide  with  me ! 

1  need  Thy  presence  every  passing  hour, 

What  but  Thy  grace  can  foil  the  tempter's  power  ? 
Who,  like  Thyself,  my  guide  and  stay  can  be  ? 
Through  cloud  and  sunshine,  oh,  abide  with  me ! 

Not  a  brief  glance  I  long,  a  passing  word ; 
But  as  Thou  dwell'st  with  Thy  disciples.  Lord, 
Familiar,  condescending,  patient,  free. 
Come,  not  to  sojourn,  but  abide  with  me  I 

Hold  Thou  Thy  cross  before  my  closing  eyes ; 
Shine  through  the  gloom,  and  point  me  to  the  skies : 
Heaven's  morning  breaks,  and  earth's  vain  shadows  flee  I 
In  life,  in  death,  0  Lord,  abide  with  me ! 

Lyte. 


396  ADVANCED  ELOCUTION 

ROCK  of  Ages,  cleft  for  me  ! 
Let  me  hide  myself  in  Thee ; 
Let  the  water  and  the  blood, 
From  Thy  wounded  side  that  flowed, 
Be  of  sin  the  double  cure ; 
Cleanse  me  from  its  guilt  and  power. 

Not  the  labor  of  my  hands 
Can  fulfill  the  law's  demands  ; 
Could  my  zeal  no  respite  know, 
Could  my  tears  forever  flow, 
All  for  sin  could  not  atone, 
Thou  must  save,  and  Thou  alone 

Nothing  in  my  hand  I  bring, 
Simply  to  Thy  cross  I  cling ; 
Naked,  come  to  Thee  for  dress, 
Helpless,  look  to  Thee  for  grace ; 
Vile,  I  to  the  fountain  fly. 
Wash  me.  Saviour,  or  I  die ! 

While  I  draw  this  fleeting  breath. 
When  my  eyelids  close  in  death, 
When  I  soar  to  worlds  unknown. 
See  Thee  on  Thy  judgment-throne, 
Rock  of  Ages,  cleft  for  me  ! 
Let  me  hide  myself  in  Thee. 

TOPLADY. 


PRAYER  is  the  soul's  sincere  desire, 
Uttered  or  unexpressed ; 
The  motion  of  a  hidden  fire 
That  trembles  in  the  breast. 


MY  country!  %s  of  thee  397 

Prayer  is  the  burden  of  a  sigh, 

The  falling  of  a  tear, 
The  upward  glancing  of  an  eye, 

When  none  but  God  is  near. 

Prayer  is  the  simplest  form  of  speech 

That  infant  lips  can  try ; 
Prayer  the  sublimest  strains  that  reach 

The  Majesty  on  high. 

Prayer  is  the  Christian's  vital  breath, 

The  Christian's  native  air  : 
His  watchword  at  the  gates  of  death  — 

He  enters  heaven  with  prayer. 

Prayer  is  the  contrite  sinner's  voice. 

Returning  from  his  ways ; 
While  angels  in  their  songs  rejoice, 

And  cry — "  Behold,  he  prays !" 
« 
O  Thou,  by  whom  we  come  to  God — 

The  Life,  the  Truth,  the  Way ; 
The  path  of  prayer  Thyself  hast  trod ; 

Lord !  teach  us  how  to  pray. 

Montgomery. 


MORE  love  to  Thee,  O  Christ  1 
More  love  to  Thee ! 
Hear  thou  the  prayer  I  make, 

On  bended  knee ; 
This  is  my  earnest  plea, — 
More  love,  O  Christ !  to  Thee, 
More  love  to  Thee  1 


398  ADVANCED  ELOCUTION 

Once  earthly  joy  I  craved, 

Sought  peace  and  rest ; 
Now  Thee  alone  I  seek, 

Give  what  is  best ; 
This  all  my  prayer  shall  be,— 
More  love,  O  Christ,  to  Thee, 

More  love  to  Thee  I 

Let  sorrow  do  its  work. 

Send  grief  and  pain ; 
Sweet  are  Thy  messengers, 

Sweet  their  refrain, 
When  they  can  sing  with  me,— 
More  love,  O  Christ,  to  Thee, 

More  love  to  Thee  I 

Then  shall  my  latest  breath 

Whisper  Thy  praise ; 
This  be  the  parting  cry 

My  heart  shall  raise, 
This  still  its  prayer  shall  be. 
More  love,  O  Christ !  to  Thee, 

More  love  to  Thee  I 

Mrs.  Prentiss. 


SOFTLY  now  the  light  of  day 
Fades  upon  my  sight  away ; 
Free  from  care,  from  labor  free. 
Lord,  I  would  commune  with  Thee  I 
Thou,  whose  all-pervading  eye 

Naught  escapes,  without,  within, 
Pardon  each  infirmity, 
Open  fault,  and  secret  sin. 


SOFTLY    NOW   THE   LIGHT   OF    DAY  399 

Soon  for  me  the  light  of  day 
Shall  forever  pass  away ; 
Then  from  sin  and  sorrow  free, 
Take  me,  Lord,  to  dwell  with  Thee  I 
Thou  who,  sinless,  yet  hast  known 

All  of  man's  infirmity ; 
Thou,  from  Thy  eternal  throne, 

Jesus,  look  with  pitying  eye. 

Bishop  Doane. 


NUMBER  THREE 


rue  American  Flag,  by  Joseph  Rod- 
man Drake.     Patriotic. 
Bardell    and    Pickwick,    by    Charles 

Dickens.  The  famous  trial  scene. 
The  Baron's  Last  Banquet.  Dramatic. 
The  Battle  of  Beal  an'  Duine,  by  Sir 

Walter  Scott.     A  strong  war  poem. 
The  Dutchman's  Serenade.     German 

dialect. 
The  Eagle's  Rock.     Very  dramatic. 
The  Famine.     From  "  Hiawatha." 
A  Florentine  Letter  ;  From  Exile  ;  The 

Gladiator  ;  all  dramatic. 
Good-night,  Papa.     Beautiful  temper- 
ance recitation. 
The  Hypochondriac.     Humorous, 
If  I  Should  Die  To-night.    Suitable  for 

Suntlav-schools. 
The  Indian  Chief  to  the  White  Settler, 

by  Edward  Everett.     Popular  prose 

declamation. 
Kit  Carson's  Ride,  by  Joaquin  Miller. 

A  stirring  incident  of  prairie  life. 
The  Kitchen  CIock,  by  James  Vance 

Cheney.   Humorous  and  exceedingly 

popular. 
Laughin'    in    Meeting,   by  Harriet 

Beecher  Stowe.      Humorous, 
Licensed  to  Sell ;  or,  Little  Blossom. 

Temperance. 
Maud    MuUer,   by  John    G.  Whittier. 

Always  acceptable. 


The  Monster  Cannon,  by  Victor  Hufltt 

Dramatic  description. 
National  Monument   to  Washington. 

For  Washington's  Birthday. 
Ode  on  the  Passions,  by  Collins.    Ex- 
cellent for  voice  culture. 
The  Painter  of  Seville.     Strong  and 

very  popular. 
Parrhassius  and  the  Captive,  by  N.  P. 

Willis.     Dramatic. 
Poor  Little  Jim.    Pathetic  story  of  th« 

mines. 
Power  of  Habit,  by  John  B.  Gough. 

Striking  temperance  selection. 
Reaching  the  Early  Train,   by  Max 

Adler.      Humorous. 
Reply  to  Mr.  Corry,  by  H.  Grattan. 

Forensic  oratory. 
Rock  of  Ages.     Contains  singing  parts. 
The  Senator's  Dilemma,  by  James  D« 

Mille.     Humorous. 
Signs  and  Omens.    German  dialect. 
Tell  on  His  Native  Hills.     Patriotic. 
The  Three  Fishers,  by  Charles  King» 

lev.     Tender  and  pathetic. 
The   Two   Glasses,    by  Ella  Wheelet 

Wilcox.      Temperance. 
The  Vagabonds,  by  J.  T.  Trowbridge, 

Pathetic,  dramatic,   and  always  ac« 

ceptable. 
Woman,    by   Tennyson.      A   pleasing 

tribute  to  the  sex. 


NUMBER  FOUR 


Th«  Angels  of  Buena  Vista,  by  John  G. 

Whittier.      A    very   dramatic    battle 

scene. 
The  Battle  of  Bunker  Hill.     Strong 

patriotic  poem. 
Battle  of  Lookout  Mountain,  by  George 

H.  Boker.     A  thrilling  description. 
Battle    Hymn   of    the    Republic,    by 

Julia  Ward  Howe.    Stirring  patriotic 

poem. 
The  Black  Horse  and  His  Rider,   by 

Charles  Sheppard.     A  fine  prose  pa- 
triotic declamation. 
The  Burning  Prairie,  by  Alice  Carey. 

Dramatic. 
The  Cause  of  Temperance,  by  Jdhn  B. 

Gough.     Strong  temperance  piece. 
Centennial  Oration,  by  Henry  Armitt 

Brown.     Fine  prose  declamation. 
The  Christmas  Sheaf.     A  Norwegian 

Christmas  story. 
Curfew  Must  Not  Ring  To-Night,  by 

Rose    Hartwick    Thorpe.      Familiar 

but  always  popular. 
Deacon   Munroe's   Story.     Humorous 

characterization. 
The  Declaration  of  Independence.  Very 

convenient  for  Fourth  of  July  occa- 
sions. 
Dora,  by  Tennyson.      Dramatic  char- 
acterization. 
The  Fire.     A  dramatic  description. 
The   Gambler's  Wife.      Pathetic   and 

dramatic. 


The    Ghost.      Sometimes    known    sm 

"Abel   Law's  Ghost."    Quaint  Yan- 
kee humor. 
Grandmother's   Story.      An   old   wo 

man's  story  of  the  Battle  of  Bunker 

Hill. 
The   Great   Beef   Contract,  by  Mark 

Twain.     Exceedingly  humorous. 
Judge   Pitman  on  Various   Kinds  of 

Weather,  by  Max  Adler.    Humorous 
Kentucky  Belle,  by  Constance  Feni- 

more  Woolson.    A  very  popular  reci- 

sation  describing  an  incident  of  the 

Civil  War. 
A  Leap  Year  Wooing,  by  David  Macrae. 

Humorous. 
A  Man's  a  Man  for  a'  That,  by  Robert 

Burns.        Popul?r     Scotch     dialect 

poem. 
No  God.     Strong  moral  selection. 
Ode  to  the  Deity.    A  fine  oratorical 

piece. 
Ode  to  the   Legislature,  by  John  G. 

Saxe.     A  satirical  poem. 
The  Rationalistic  Chicken.      Humor«^ 

ous. 
The  Raven,  by  Edgar  Allen  Poe.    Fa- 

miliar  to  all  but  still  given  by  the  b«< 

readers. 
Rienzi's  Address.     Stirring  declamA> 

tion. 
Tribute  to  Washington.     For  WmIi 

ington's  Birthday. 
The  Union.    A  patriotic 


NUMBER  FIVE 


thim  Arer.    A  humorous  description  of 

jt  sufferer  with  chills  and  fever. 
Archie   Dean,   by  Gail   Hamilton.     A 

selection  of  the  coquettish  order. 
Bannock-Burn,  by  Robert  Burns.     A 

stirring  Scotch  poem. 
Ihe  Bride  of  the  Greek  Isle,  by  Mrs. 

Hemans.     Dramatic. 
Ttie   Brook,    by    Tennyson.      Always 

popular. 
fudge's  Version  of  the  Flood,  by  John 

Habberton.     Child  characterization. 

Very  amusiuR;. 
C»*taline'8    Defiance.       Familiar    but 

always  acceptable. 
Dedication  of  Gettysburg  Cemetery. 

The  celebrated   speech  of  Abraham 

Lincoln. 
The  Flood  of  Years,  by  William  Cullen 

Bryant.    Strong  oratorical  selection. 
Hans  and  Fritz.    German  dialect. 
He  Giveth  His  Beloved  Sleep,  by  Mrs. 

Browning.  A  beautiful  spiritual  poem. 
Heroes  of  the  Land  of  Penn,  by  George 

Lippard.     Patriotic. 
How  We  Hunted  a  Mouse.    Humorous. 
John  and  Tibbie's  Dispute.     Scotch 

dialect. 
The  Last  Hymn.    Describes  a  wreck 

at  sea.     Parts  to  be  sung. 
The  Leak  in  the  Dyke,  by  Phoebe  Gary. 

Dramatic. 


Lost  and  Pound.    A  pathetic  story  tf 

the  Welsh  mines. 

Magdalena  ;  or,  the  Spanish  Duel.  Hu 
morous. 

The  Maiden  Martyr.     Pathetic. 

Membraneous  Croup  and  the  McWiJ 
liamses,  by  Mark  Twain.  Humor 
ous. 

Old  Ironsides,  by  O.  W.  Holmes.  Pa* 
triotic. 

Over  the  Hills  and  Far  Away,  by  Miss 
Mulock.     Beautiful  bit  of  pathos. 

The  Prisoner  of  Chillon,  by  Byron.  A 
very  dramatic  selection. 

The  Puritans,  by  T.  B.  Macaulay. 
Strong  prose  description  of  our  fore- 
fathers. 

Samantha  Smith  Becomes  Josiak 
Allen's  Wife,  by  Josiah  Allen's  Wife. 
Humorous. 

The  Schoolmaster's  Guests,  by  Will 
Carleton.     Humorous. 

Tlie  Swell's  Soliloquy.  Impersonation 
of  a  dude. 

Uncle  Daniel's  Introduction  to  a  Mit-^ 
sissippi  Steamer,  by  Clemens  and 
Warner.  One  of  the  best  negro  dia- 
lect pieces  ever  written. 

Why  Biddie  and  Pat  Married.  Amus- 
ing Irish  dialect. 


ITOMBER   SIX 


trtemus  Sard's  London  Lecture.  One 

of  the   best  humorous   pieces   ever 

written, 
isleep  at  the  Switch.    A  thrilling  in- 
cident in  the  experience  of  a  switch 

tender. 
The  Battle  of  Ivry,  by  T.  B.  Macaulay. 

A  standard  dramatic  piece. 
The  Bridge  of  Sighs,  by  Thomas  Hood. 

A  popular  pathetic  poem. 
K  Day  at  Niagara,  by  Mark  Twain. 

Humorous. 

The   Deserted    House,  by   Tennyson. 

Beautiful  description  of  life  and  death. 
Doctor  Marigold,  by  Charles  ^ickens. 

Sometimes   known    as  Cheap  Jack. 

Good  for  characterization. 
The  Dukite  Snake, by  J.  Boyle  O'Reilly. 

Exceedingly  dramatic. 
Easter  Morning.    For  Easter. 
Extract  from  the  Last  Days  of  Hercu- 

laneum.     Fine  dramatic  description. 
Father  Phil's  Collection.    One  of  the 

best  of  the  Irish  dialect  recitatioJis. 
Sreen  Mountain  Justice.    Humorous. 
«ane  Conquest.     Very  dramatic.    The 

incident  is  that  of  a  wreck  at  sea. 
the  Little  Hatchet  Story.    A  humor- 
ous   description   of  the    incident  of 

George  Washington  and  the  ch»rry 

tree    Very  popular 


Miss  Edith  Helps  Things  Along,  bf 
Bret  Harte.  Humorous  characteriza- 
tion of  a  pert  child. 

The  Old  Sergeant.  A  pathetic  story  of 
the  Civil  War. 

The  Palmetto  and  the  Pine.  A  fig- 
urative description  of  the  North  and 
South. 

Relentless  Time,  by  Henry  W.  Long- 
fellow.    Good  for  teaching  purposes. 

The  Ride  of  Jennie  McN«al,  by  Will 
Carleton.    A  story  of  colonial  days. 

Robert  of  Lincoln,  by  William  Cullen 
Bryant.     Introduces  bird  songs. 

Satan  and  the  Grog  Seller.  A  fin^ 
temperance  piece. 

School  Called.  A  pleasing  poem,  illus* 
trative  of  school  life. 

Songs  in  the  Night.  An  amusing 
sleeping  car  incident. 

St.  John,  the  Aged.  Beautiful  spiritual 
poem. 

Thanatopsis,  by  William  Cullen  Bry- 
ant. Excellent  for  teaching.  Always 
popular  as  a  recitation. 

A  Thanksgiving,  by  Lucy  Larcom.  For 
Thanksgiving. 

Tom.  by  Constance  Fen i more  Woolson. 
Tells  how  a  dog  saved  the  life  of  a 
child. 

Valley  Forge,  by  Henry  Armitt  Brown. 
Good  for  teaching. 

Zekle,  by  James  Russell  Lowell.  Van 
kee  courting. 


XtJMBFR  SEVEX 


Th^  Aai«rican  War.  by  Lord  Chatham. 
A  hnt.  forensic  selection . 

The  Crescent  and  the  Cross,  by  T.  B. 
Aldrich.  A  beautiful  contrast  be- 
tween Christianity  and  Mohamn;ed- 
an  ism. 

Cuddle  Doon.  A  pleasing  bit  of  Scotch 
dialect. 

Daisy's  Faith.  Popular  child  charac- 
terization. 

The  Death  of  the  Owd  'Squire.  A  fine 
dramatic  piece.  Scene  in  York- 
shire. 

The  Death  of  the  Old  Year,  by  Tenny- 
son.    For  New  Year's. 

^he  Death  of  Nelson,  by  Robert  South- 
ey.    Good  for  teaching. 

pair  Play  for  Women,  by  George  Wil- 
liam Curtis.  An  appeal  for  the  rights 
of  woman. 

/he  Gray  Honors  the  Blue,  by  Henry  H. 
Watterson.  Good  for  Decoration 
Day. 

The  Leper,  by  N.  P.  Willis.  A  strong 
dramatic  recitation. 

tighthouse  May.  Showing  the  hero- 
ism of  a  lighthouse  keeper. 

Marco  Bozzaris,  by  Fitz-Greene  Hal- 
leck.     Familiar  and  popular. 

Masters  of  the  Situation,  by  James  T. 
Field.     Excellent  teaching  selection. 

Mount  Blanc  Before  Sunrise,  by  S.  T. 
Coleridge.  A  beautiful  oratorical 
poem. 


The  Night  Before  Christmas.  Alwgjrf 
popular  for  Christmas  entertainments. 

The  Night  After  Christmas.  A  humor- 
ous sequel  to  the  foregoing  selection. 

Old  Robin,  by  J.  T.  Trowbridge.  How 
a  horse  saves  his  master  from  moral 
ruin. 

Our  Traveled  Parson,  by  Will  Carleton. 
Humorous. 

The  Owl-Critic,  by  James  T.  Fields. 
Very  clever  humor. 

Paradise.     An  excellent  encore  piece. 

A  Royal  Princess,  by  Christina  Ros 
setti.     A  strong  dramatic  recitation. 

The  Ship  of  Faith.  An  exceedingly 
good  negro  dialect  piece. 

Sister  and  I.  Pathetic  and  very  popu- 
lar. 

The  South  Wind,  by  Henry  W.  Long- 
fellow.   A  pleasing  description. 

Surly  Tim's  Trouble.  Pathetic  and 
very  popular.     Lancashire  dialect. 

Tom's  Little  Star.  A  humorous  poena 
describing  the  experience  of  a  stage- 
struck  woman. 

The  Village  Blacksmith,  by  Henry  W. 
Longfellow.    Always  popular. 

The  voice  in  the  Twilight,  by  Mrs. 
Herrick  Johnson.  Suitable  for  Sun- 
day-schools. 

Widow  Brown's  Christmas.  A  pleat- 
ing Christmas  story. 

The  Wounded  Soldier.  Pathetic.  Tht 
incident  is  that  of  a  dying  soldier. 


NUMBER  EIGHT 


After  Death,  by  Edwin  Arnold.  A 
beautiful  spiritual  poem. 

An  American  Specimen,  by  Mark 
Twain.     Humorous. 

The  Bald-Headed  Man.  Very  funny, 
introducing  an  inquisitive  child. 

Bay  Billy.  An  incident  of  the  Civil 
War.     Good  for  Decoration  Day. 

Better  in  the  Morning.    Very  pathetic. 

The  Character  of  Washington.  For 
Washington's  Birthday. 

A  Christmas  Carol,  by  Father  Ryan. 
A  magnificent  poem ;  parts  to  be 
chanted. 

Ibney  Island  Down  Der  Pay,  by  Henry 
Firth  Wood.     German  dialect. 

The  Defense  of  Lucknow,  by  Tenny- 
son.    A  patriotic  recitation. 

The  Emigrant's  Story,  by  J.  T.  Trow- 
bridge. The  incicient  is  that  of  a 
storm  on  the  prairie. 

fhe  Everlasting  Memorial,  by  Hora- 
tius  Bonar.  Good  for  Sunday-schools 

^e  First  Quarrel,  by  Tennyson.  Dra- 
matic and  pathetic. 

Her  Letter,  by  Bret  Harte.  A  story  of 
early  California  days. 

How  "Ruby"  Played.  A  country- 
man's very  humorous  description  of 
the  playing  of  Rubenstein. 

An  International  Episode.  Good  for 
eucore. 


Little  Feet.    Pathetic. 

Mrs.  McWilliams  and  the  Lightninft 
by  Mark  Twain.     Humorous. 

Nations  and  Humanity,  by  George 
William  Curtis.     Oratorical. 

Over  the  Hill  From  the  Poor  House,  by 
Will  Carleton.  A  sequel  to  "  Over 
the  Hill  to  the  Poor  House." 

An  Order  for  a  Picture,  by  Alice  Carey. 
A  very  acceptable  pathetic  selection. 

Peace  in  God,  by  Harriet  Beechef 
Stowe.     For  Sunday-schools. 

A  Practical  Young  Woman .  H  u morous. 

Reckoniag  with  the  Old  Year.  For 
New  Year's. 

Reply  to  Hayne,  by  Daniel  Webster. 
Oratorical  and  good  for  teaching. 

Rest,  by  George  MacDonald.  Good 
for  Sunday-schools. 

Scene  from  Leah  the  Forsaken.  Gener- 
ally known  as  the  "  Curse  Scene." 

Setting  a  Hen.  German  dialect.  Some- 
times known  as  Sockery  Setting  a 
Hen. 

The  Sioux  Chief's  Daughter,  by  Joa- 
quin  Miller.  Very  dramatic  and  ex- 
ceedingly popular. 

A  Tale  of  the  Yorkshire  Coast.  A 
pathetic  selection  in  Yorkshire  dia- 
lect. 

Vashti.  by  Julia  C^  R.  Dorr.  Veif 
popular- 


NUMBER  NINE 


the  Aged  Stranger ;  or,  I  Was  With 
Grant,  by  Bret  Harte.  Humorous 
incident  of  the  Civil  War. 

Awfully  Lovely  Philosophy.  Charac- 
terization of  a  gushing,  aesthetic 
young  girl. 

Baby's  visitor.     Encore. 

Bertha  in  the  Lane,  by  Mrs.  Browning. 
Pleasing  pathos. 

Brier  Rose,  by  Hjalmar  Hjorth  Boye- 
sen.     A  tnrilling  Norwegian  story. 

The  Child  on  the  Judgment  Seat. 
Moral  and  spiritual.  Good  for  Sun- 
day-schools. 

A  Christmas  Ballad.  A  pathetic  Christ- 
mas story, 

Connor.     Very  pathetic  and  popular. 

The  First  Party.  Humorous  child 
characterization. 

Horatius  at  the  Bridge,  by  T.  B. 
Macaulay.     Heroic,     Very  popular 

last  Prayer  of  Mary  Queen  of  Scots. 
Pathetic  and  dramatic. 

Lookout  Mountain.     German  dialect. 

Master  Johnny's  Next-door  Neighbor, 
by  Bret  Harte,  Boy  characteriza- 
tion. 

Mrs.  Walker's  Betsy.  A  story  of 
humble  life  told  in  graphic  lan- 
guage. 

His.  ward's  Visit  to  the  Prince.    Su- 

,  nerior  Yankee  dialect. 


The  National  Ensign.  A  patriotic  dM 

laniation 
The  Palace  of  the  King.    Scotch  dian 

lect. 
Rover's  Petition,  by  James  T.  .fields. 

A  good  child's  piece. 
The  Sailing  of  King  Olaf.     Beautiful 

sentiment. 
Sam's  Letter.     An  extract  from  'Out 

American  Cousin," 
School  Begins  To-day.     Appropriate 

for  the  opening  of  schools. 
Selling  the  Farm.    A  pathetic  story  of 

farm  life. 
Song  of  the  Camp,  by  Bayard  Taylor. 

Introduces  the  song  of  Annie  Laurie, 
St.  George  and  the  Dragon.  Dramatic 
Terpsichore  in  the  Flat  Creek  Quarters. 

Describes   a    dance   among   the    ne- 
groes. 
Thoughts  for  a  New  Year.    For  New 

Year's, 
Tribute  to  Washington..  For  Washing. 

ton's  Birthday, 
The    Truth    of    Truths,    by    Ruskin. 

Good  for  teaching. 
Unnoticed    and    Unhonored    Heroes 

Oratorical. 
The   White    Squall,    by   William    M. 

Thackeray.     Humorous, 
The  Widow  and  Her  Son,  by  Washing- 
ton Irving.    Beautiful  and  pathetic. 


NUMBER  TEN 


Armageddon,  by  Edwin  Arnold.  The 
war  cry  of  the  future, 

Balaklava.  A  dramatic  incident  in 
the  Crimean  war. 

The  Blind  Lamb,  by  Celia  Thaxter.  A 
pleasing  child's  recitation. 

Caught  in  the  Quicksand,  by  Victor 
Hugo,    Very  dramatic. 

Chickamauga.  Good  for  Decoration 
Day, 

The  Death  of  Rowland.     Heroic. 

Despair,  by  Tennvson.     Dramatic. 

Dick  Johnson's  Picture.  An  interest- 
ing temperance  piece. 

Drifting,  by  Thomas  Buchanan  Read. 
A  most  pleasing  recitation. 

Herve  Riel,  by  Robert  Browning.  A 
fine  dramatic  recitation. 

The  Irrepressible  Boy.  Introduces  an 
inquisitive  boy. 

Jamie,  by  R,  C.  V.  Meyers.  Dramatic 
and  pathetic. 

Larrie  O'Dee.     Irish  dialect. 

The  Law  of  Death,  by  Edwin  Arnold. 
Pathetic, 

Little  Dora's  Soliloquy.  Child  charac- 
terization. 

Little  Rocket's  Christmas,  by  Van- 
dyke Brown,  A  pleasing  Christmas 
story, 

The  Lost  Found,  by  Henry  W,  Long- 
fellow An  extract  from  "  Evange- 
Une." 


Mick  Tandy's  Revenge.  Pathetic  but 
with  a  pleasing  ending. 

New  England's  Chevy  Chase,  by  Ed- 
ward Everett  Hale.     Patriotic, 

The  Old  Year  and  the  New,  by  Eben 
Rex  ford.     For  New  Year's, 

The  Phantom  Ship  by  Celia  Thaxter. 
A  tale  of  a  slave  ship, 

A  Railway  Matinee,  by  R,  J.  Burdette 
Very  amusing, 

Rizpah.     Pathetic.     Parts  to  be  .sung. 

A  Reminiscence  of  Exhibition  Day,  by 
R,  J.  Burdette.     Humorous. 

Rev.  Gabe  Tucker's  Remarks.  Negro 
dialect. 

The  Schoolmaster  Beaten,  by  Charles 
Dickens,  Dramatic,  Excellent  for 
characterization. 

The  Shriving  of  Guinevere,  by  Dr.  5. 
Weir  Mitchell,    Dramatic. 

The  Sky,  by  Ruskin,  A  beautiful  d©. 
scription. 

Theology  in  the  Quarters.  Negro  dia- 
lect. 

Tilghman'sRide.  How  he  brought  the 
news  from  Yorktown  to  Philadelphia. 

To  the  Survivors  of  the  Battle  of  Bun- 
ker Hill,  by  Daniel  Webster.  Patri- 
otic and  oratorical. 

The  True  Story  of  Littl*  Boy  Blue.  A 
pleasing  child's  piece. 

The  Wayside  Inn,  by  Adelaide  Proct^e 
Pathetic. 


NUMBER   ELEVEN 


Apostrophe  to  the  Ocean,  by   Byron. 

Excellent  for  vocal  training. 

The  Bobolink.  Affords  opportunities 
for  bird  tones. 

Catching  the  Colt.  A  good  recitation 
for  voung  folks. 

The  Clown's  Baby.  A  pleasing  inci- 
dent of  life  in  a  mining  camp. 

The  Convict's  Soliloquy  the  Night  be- 
fore Execution.  Exceedingly  dra- 
matic. 

Death  of  Little  Dombey,  by  Charles 
Dickens.     Pathetic. 

The  Dutchman's  Snake.  Very  amus- 
ing. 

Echo  and  the  Ferry,  by  Jean  Ingelow. 
A  beautiful  description. 

Flash,  the  Fireman's  Story,  by  Wil' 
Carleton.     Humorous. 

The  Foxes'  Tails  ;  or  Sandy  MacDon- 
ald's  Signal.  One  of  the  most  de- 
servedly popular  humorous  pieces  in 
print. 

The  Freckle-Faced  Girl.  Humorous 
characterization  of  a  pert  voung  girl. 

The  Froward  Duster,  by  R.J.  Burdette. 
Humorous. 

Garfleldat  the  Wheel.     Patriotic. 

The  Grandmother's  Apology ,  by  Tenny- 
son.    Old  lady  characterization. 

Yerrv.     Newsboy  impersonation. 

The'Lisping  Lover.    Encore. 


Little  Gottlieb's  Christmas.    A . 

ing  Chj^tmas  story  of  Germany. 

Mice  at  Play.     Humorous. 

Mona's  Waters.    Highly  dramatic. 

No  Kiss.     Encore. 

The  Old  Year  and  the  New,  by  Joseph 
ine  Pollard.     P'or  New  Year's. 

One  Flower  for  Nelly,  by  Rose  Hart- 
wick  Thorpe.     For  Easter. 

The  Prospects  of  the  Republic,  by  Ed- 
ward Everett.    Oratorical. 

Queen  Vashti's  Lament.  Dramatio 
and  pathetic. 

Rock  Me  to  Sleep.    Pathetic. 

Romance  of  a  Hammock.  Very  clevei 
humor. 

The  Shadow  of  Doom,  by  Celia  Thax- 
ter.     A  dramatic  recital. 

Song  of  the  Mystic,  by  Father  Ryan. 
A  beautiful  moral  and  religious  poem. 

Sunday  Fishin' .     Negro  dialect. 

Supposed  Speech  of  John  Adams  on  the 
Declaration  of  Independence,  by  Dan- 
iel Webster.     Patriotic. 

A  Telephonic  Conversation,  by  Mart 
Twain.     Humorous. 

Thora,  by  Hjalmar  Hjorth  Boyeseu. 
A  Norwegian  story. 

Ticket  0'  Leave,  by  Geo-ge  R.Sims. 
Dramatic. 

Where '  s  Annette  ?    Dram^ tic. 

The  Wonders  of  Genealogy.  Humorous. 


NUMBER   TWELVE 


Aux  Italiens,  by  Robert  Bulwer  Lytton. 
Contains  singing  parts.  Very  popular. 

JJallad  of  Cassandra  Brown.  A  tra- 
vesty on  some  of  the  modern  forms 
of  exaggerated  elocution. 

The  Battle  Flag  of  Shenandoah,  by 
Joaquin  Miller.  A  patriotic  poem  of 
the  Civil  War. 

The  Bells,  by  Edgar  Allen  Foe.  Ex- 
cellent for  vocal  culture. 

Bells  Across  the  Snow,  by  Frances 
Ridley  Havergal.  A  pleasing  Christ- 
mas poem. 

The  Blind  Poet's  Wife,  by  Edward 
Coller.    A  pleasing  narrative. 

the  Book  Canvasser,  by  Max  Adler. 
Humorous. 

Ernest  Views  of  Life,  by  Austin 
Phelps,  D,  D.  An  instructive  dec- 
lamation. 

The  Fall  of  Pemberton  Mill,  by  Eliz- 
abeth Stuart  Phelps.  One  of  the  most 
S)athetic,  dramatic,  and  generally  ef- 
fective recitations  in  print. 

1  Fly's  Cogitations.     Humorous. 
V)Od-bye.     A  humorous  illustration  of 
how  women   say   good-bye    to  each 
other. 

How  Girls  Study.  Good  piece  for  im- 
personation. 

How  the  Gospel  Came  to  Jim  Oaks.  A 
pathetic  story  of  a  mining  camp, 

tesus.  Lover  of  My  Soul,  by  Eugene  J. 
Hall.  Very  pleasmg.  Parts  to  be  sung. 


Jimmy  Brown's  Steam  Chatr.    Highly 

amusing. 

Lasca.  Dramatic  and  pathriic.  Scans 
on  a  Texas  cattle  ranch. 

The  Legend  of  the  Beautiful,  by  Henry 
W.  Longfellow.  A  strong  spiritual 
piece. 

Lincoln's  Last  Dream,  by  Hezekiah 
Butterworth.     A  pathetic  prem. 

The  Newsboy's  Debt,  by  Helen  Hunt 
Jackson.     Pathetic. 

Over  the  Orchard  Fence.  OJ-i  farmer 
characterization. 

Popular  Science  Catechism.  Humor- 
ous. 

Receiving  Calls.  A  humorou.*  experi- 
ence of  a  minister's  wife. 

Santa  Claus  in  the  Minrs.  A 
popular  Christmas  story  of  a  mining 
camp. 

The  Serenade.    Encore. 

She  Cut  His  Hair,  by  the  Danbury 
News  Man.     Humorous. 

The  Skeleton's  Story.  A  fine  dramatic 
description. 

Teddy  McGuire  and  Paddy  O'Flynn. 
Irish  dialect. 

Temperance,  by  the  Rt.  Rev.  John  Ire- 
land. A  strong  address  on  temper- 
ance. 

A  Ter'ble  'Sperieace,  by  Rev.  Plato 
Tohnson.     Negro  Dialect. 

Total  Annihilation.      A  good 
piece- 


NUMBER  THIRTEEN 


rh©  Ancient  Miner's  Story,  by  Will 
Carleton.     Pathetic. 

Aristarchus  Studies  Elocution.  A  tra- 
vesty on  some  kinds  of  modern  elo- 
cution. 

At  Last,  by  John  G.  Whittier.  A  beau- 
tiful spiritual  poem. 

Aunt  Polly's  George  Washington.  Ne- 
gro dialect. 

Banford's  Burglar  Alarm.  Exceeding- 
ly amusing. 

Canada.  A  pleasing  tribute  to  our 
cousins  across  the  border. 

The  Chase,  by  Walter  Scott,  Very  dra- 
matic. 

A  Child's  Dream  of  a  Star,  by  Charles 
Dickens.     Pathetic. 

Ego  et  Echo,  by  John  G.  Saxe.  Affords 
excellent  opportunities  for  vocal  dis- 
play. 

The  Humblest  of  the  Earth  Children, 
by  Ruskin.     A  fine  description. 

In  the  Signal  Box,  a  Station  Master's 
Story,  by  George  li.  Sims.  Very  pa- 
the»'c. 

The  Little  Quaker  Sinner.  A  -good 
child's  piece. 

dead  the  Way,  by  Lyman  Abbott.  A 
fine  -Reclamation. 

The  Legend  of  the  Organ  Builder,  by 
Julia  C.  R.  Dorr.  A  pathetic  descrip- 
tion. 


Let  the  Angels  Ring  the  BeUt.      A 

pleasing  Christmas  poem. 

Lord  Dundreary  in  the  Country.  A 
very  taking  extract  from  "Our  Ameri" 
can  Cousin." 

Mary's  Night  Ride.  An  extract  from 
"  Dr.  Sevier."     Dramatic. 

Mother  and  Poet,  by  Mrs.  Browning. 
Dramatic  and  pathetic. 

A  New  Cure  lor  Rheumatism,  by  Robert 
J.  Burdelte.     Highly  amusing. 

The  Old  Continentals.  A  pleasing  trib- 
ute to  the  soldiers  of  colonial  times. 

The  Old  Man  Goes  to  Town.  Excellent 
opportunities  for  old  man  character- 
ization. 

Our  Relations  to  England,  by  Edward 
Everett.     Oratorical. 

Out  to  Old  Aunt  Mary's,  by  James 
Whitcomb  Riley.  One  of  this  au- 
thor's most  popular  poems. 

Regulus  to  the  Carthagenians,  by  E. 
Kellogg.  Familiar  but  always  ao< 
ceptable. 

Song  of  the  American  Eagle.  A  good 
patriotic  poem. 

The  Spring  Poet.     Humorous, 

The  Two  Stammerers.    Very  amusing. 

The  V-a-s-e.  A  humorous  description 
of  the  different  pronunciations  of  thf 
word. 

The  Tosemite.  A  sublime  descriptiot 
of  the  far-famed  valley. 


NUMBER  FOURTEEN 


Ballad  of  the  Wicked  Nephew,  by 
James  T.  Fields.     Humorous. 

Battle  of  Morgarten,  by  Mrs.  Hemans. 
Heroic, 

B''  a  Woman,  by  Dr,  Edward  Brooks, 
A.  M,     A  beautiful  poem. 

Bill  and  Joe,  by  Oliver  Wendell 
Holmes.    Pleasing  and  clever  humor. 

Brudder  Yerkes's  Sermon.  Negro  dia- 
lect. 

A  Culprit,  by  Margaret  Vandegrift. 
Humorous. 

^  aniel  Gray,  by  J.  G.  Holland.  Beau- 
tiful description, 

A  he  Day  is  Done,  by  Henry  W,  Long- 
fellow, The  ever  pleasing  and  pop- 
ular poem. 

The  Death  of  Steerforth,  by  Charles 
Dickens.     Exceedingly  dramatic. 

Ihe  Drummer  Boy  of  Mission  Ridge. 
Excellent  for  G.  A.  R.  occasions. 

Going  for  the  Cows,  by  Eugene  J,  Hall. 
Introduces  various  calls. 

The  Great  Issue,  by  Edward  Everett. 
Oratorical.     Good  for  teaching. 

Jimmy  Brown's  Sister's  Wedding. 
Very  amusing. 

june,  by  James  Russell  Lowell.  A  well- 
known  poem. 

Jupiter  and  Ten,  by  James  T.  Fields. 
Encore. 

King  Harold's  Speech  to  his  Army  be- 
fore the  Battle  of  Hastings,  by  Bul- 
wer  Lvtlon.     Heroic 


The  Life-Boat,  by  George  R.  Sims.  Pa- 
thetic. 

The  Miseries  of  War,  by  Chalmers 
Oratorical. 

Money  Musk.  A  description  of  a  ne- 
gro dance. 

A  Mother's  Portrait,  by  Cowper.  A 
very  pathetic  poem. 

Nearer  Home,  by  Phoebe  Cary.  A  beau- 
tiful spiritual  poem. 

The  Night  Watch,  by  Fran(;ois  Cop- 
pee.    Very  dramatic. 

Pockets,  by  Julian  Hawthorne.  A 
strong  descriptive  piece. 

The  Puritan,  by  George  William  Cur- 
tis.    A  tribute  to  our  forefathers. 

The  Romance  of  the  Swan's  Nest,  by 
Mrs.  Browning.  A  beautiful  descri|»> 
tion. 

A  Second  Trial,  by  Sara  Winter  Kel- 
logg. How  a  boy  almost  failed  in  his 
commencement  oration. 

The  Ship  of  State.  A  patriotic  decla- 
mation. 

The  Sweetest  Picture,  by  Alice  Cary. 
A  most  acceptable  iioem. 

A  Tear  of  Repentance,  by  Thomas 
Moore.     A  beautiful  description. 

The  Tender  Heart,  by  Helen  Gray 
Cone.     Encore. 

The  Widow  Cummiskey.  Clever  Irisfc 
wit. 

Ulysses,  by  Tennyson.  A  pleasing  4» 
scriplioHr 


NUMBER  FIFTEEN 


kmcrica..    A  patriotic  j>ot;m. 

\\it  Bachelors.     Exco.^ent  humor. 

fheBartholdi  Statufi,  by  Julian  Haw- 
thorne. An  eloquent  tribute  to  the 
Goddess  of  Libeity. 

Becalmed.     Very  dramatic. 

Childhood  Scenes  A  beautiful  descrip- 
tion. 

Christmas  Guests  A  good  Christmas 
story. 

Commerce,  by  Edward  Everett.  A 
strong  declamatory  selection. 

1  Concord  Love  Song.     Encore. 

David's  Lament  for  Absalom,  by  N.  P. 
Willis.  Pathetic  and  popular.  Ex- 
cellent for  teaching. 

The  Death  of  Jezebel.   Very  dramatic, 

the  Fading  Leaf,  by  Gail  Hamilton. 
A  beautiful  description. 

Fall  In!  i860,  by  George  W.  Cable. 
An  incident  in  the  formation  of  the 
Southern  Arniv. 

Flag  of  the  Rainbow,  by  Thomas 
Dunn  English.     Patriotic. 

Grant's  Place  in  History.  An  histori- 
cal description. 

The  Gray  Champion,  by  Nathaniel 
Hawthorne.  Eniboaies  the  spirit  of 
American  freedom. 

Guessing  Nationalities,  by  Mark 
Twain.     Humorous. 

Jn  the  Children's  Hospital,  by  Tenny- 
son.   Pathetic. 


Ireland  to  be  Ruled  by  IrishiiMii,  bf 

William  E.  Glad-stone.  Irish  patriot^ 
ism.    Good  for  declamation. 

King  Arthur  and  Queen  Guinevere,  by 
Tennyson.     A  beautiful  recitation. 

The  Kiss  Deferred.  A  pleasing  pathetic 
poem.     Verv  popular. 

La  Tour  d'Auvergne.    Heroic. 

Little  Foxes,  by  R.  J.  Burdelte.  A« 
instructive  selection. 

Mrs.  Picket's  Missionary  Box.  Good 
for  missionary  occasions. 

Music  in  Camp'.  Frequently  know:-,  aa 
"  Music  on  the  Rappahannock." 
Parts  to  be  sung.     Very  popular. 

An  Old  Roundsman's  Story,  by  Mar- 
garet E\ tinge.    Por  Christmas. 

A  Perfectly,  .Awfully,  Lovely  Story. 
An  jcsthetic  exaggeration. 

The  Price  of  a  Drink,  by  Josephine  Pol- 
lard.   Good  fnr  temperance  occasions. 

She  Wanted  to  Hear  it  Again.   t:ncore. 

Speech  Against  the  Stamp  Act,  by 
James  Otis.     Oratorical. 

A  Strange  Experience,  by  Josephine 
Pollard.     A  good  girl's  piece. 

The  Three  Kings,  by  Henry  W.  Long- 
fellow.    A  good  descriptive  jxiem. 

A  Tragedy  on  Past  Participles.  Hu- 
morous. 

The  Two  Runaways,  by  H.  S.  Ed- 
wards. Negro  dialect.  Humorous. 
Very  popular. 

Watch  Night,  by  Horatius  Bonner. 
For  New  Year's. 


NI/MBER  SIXTEEN 


lAck  from  the  War,  by  T.  DeWitt  Tal- 
mage.     (iood  for  G.  A.  R.  occasions. 

The  Battle  Hymn.  Oratorical  and 
good  for  teaching. 

Calls.  A  minister's  somewhat  curious 
boy  endeavors  to  get  an  explanation 
of  ministerial  calls.     Very  funny. 

The  Chariot  Race,  by  Lew  Wallace. 
One  of  the  most  popular  pieces  ever 
written.  An  extract  from  "  Hen  Hur." 

The  Christening.  An  amusing  incident 
of  how  a  child  was  misnamed  in  the 
christening. 

The  Curse  to  Labor,  by  T.  V.  Powdeily. 
A  strong  appeal  for  temperance 
among  the  laboring  classes. 

The  Day  of  Judgment,  by  Elizabeth 
Stuart  Phelps.  An  amusing  incident 
of  two  children  who  thought  the 
world  had  come  to  an  end. 

Decoration  Day,  by  Wallace  Bruce.  A 
beautiful  patriotic  poem. 

The  Elf  Child,  by  James  Whitcomb 
Riley.  Sometimes  known  as  "  The 
Gobble-uns'll  Git  You." 

Fraudulent  Party  Outcries,  by  Daniel 
Webster.     Oratorical. 

An  Invitation  to  the  Zoological  Gar- 
dens.   A  very  funny  stuttering  piece. 

limmy  Hoy,  by  Samuel  Lover.  A  capi- 
tal Irish  dialect  prose  selection. 


Lily  Servoss's  Ride,  by  Judge  To.  rgee. 

The  incident  takes  place  at  th<  close 

of  the  war  during  the  ravages  »  /  the 

Ku-Klux. 
The  Message  of  the  Dove,  by  E.  N»rsbit. 

A  dramatic  Easter  poem. 
The  Mourner  a  la  Mode,  by  John  G. 

Saxe.     A  satirical  poem. 
The  New  South,  by  Henr>- W.  Grady. 

A  graphic  description  of  the  present 

conditic-.i  of  the  South. 
An  Old  Sweetheart  of  Mine,  by  James 

Whitcomb    Riley.      A  very   popular 

poem. 
The  Portrait,  by  Lord   Lytton.    Very 

dramatic  and  exceedingly  popular. 
Praying  for  Shoes,  by  Paul  HamiltoK 

Hayne.     Pathetic. 
Song  of  the  Mountaineers,  by  T.  Bu- 
chanan Read.     A  patriotic  poem. 
The  Tell-Tale  Heart,  by  Edgar  Allen 

Poe.    A  murderer's  confession.     Ex 

ceedingly  dramatic. 
The  Thanksgiving  in  Eoston  Harbor, 

by  Hezekiah  Butterworth.     A  splen- 
did Thanksgiving  piece. 
Topsy's    First    Lesson,    by    Harriet 

Beecher    Stowe.      An    extract    from 

"  Ihicle  Tom's  Cabin."     Very  funny. 
Toussaint    L'Ouverture,  by   Wendell 

Phillips.    Oratorical. 


S  UMBER  SEVENTEEN 


itexander's  Feast ;  or.  the  Power  of 
Music,  by  Dryden.  A  I  eautiful  rhyth- 
mical poem. 

Army  of  the  Potomac,  by  Joaquin 
Miller.  An  excellent  poem  for 
G.  A.  R.  occasions. 

Aunt  Melissy  on  Boys,  by  J.  T.  Trow- 
bridge. The  incident  i^  that  of  tur- 
keys becoming  intoxica.ed  by  eating 
corn  soaked  in  rum. 

Dead  on  the  Field  of  HoLor.  A  good 
declamation. 

faster  Morning,  by  Henry  Ward 
Beecher.     An  Easler-tidt  oration. 

fhe  First  Thanksgiving,  by  Hezekiah 
Butterworlh.  A  beautiful  poem  for 
Thanksgiving  occasions. 

The  Garfield  Statue,  by  Hon.  Grover 
Cleveland.  An  eloquent  tribute  to 
the  martyred  President. 

flow  We  Fought  the  Fire,  by  Will 
Carleton.  An  amusing  poem,  descrip- 
tive of  a  fire  in  a  country  viliiage. 

Inge,  the  Boy  King,  by  Hjalmar  Hjorth 
Boyesen.  An  excellent  dramatic 
selection. 

Jimmy  Brown's  Prompt  Cftedience. 
Humorous, 

Labor,  by  Thomas  Carlyle.  A  prose 
declamation. 

The  Land  of  Thus  and  So,  by  James 
Whitcomb  Riley.     A  fanciful  poem, 

fhe  Legend  of  Rabbi  Ben  Levi,  by 


Henry  W-  Longfellow,  A  b«aut]fc| 
and  instructive  poem. 

Lexington,  by  Oliver  Wendell  Holmeft 
A  patriotic  poem. 

Love  of  Country,  by  Newton  Booth. 
Patriotic. 

The  Low-Backed  Car,  by  Samud 
Lover.  Very  popular  Irish  dialect 
poem.     Humorous. 

The  Minuet.  A  pleasing  poem,  intro- 
ducing the  minuet  step. 

The  Monk's  Magnificat,  by  E.  Nesbit. 
A  very  popular  i)()em  m  which  a 
chant  is  etiectively  introduced 

Mr.  Brown  Has  His  Hair  Cut.  A  very 
amusing  prose  selection. 

The  Poor  and  the  Rich,  by  James  Rue- 
sell  Lowell.  A  fine  moral  and  in« 
structive  poem. 

The  Ride  of  Collins  Graves,  by  John 
Boyle  O'Reilly.  A  thrilling  descrip- 
tion of  the  bursting  of  a  dam. 

Rome  and  Carthage,  by  Victor  Hugo. 
A  strong  dramatic  declamation. 

Sent  Back  by  the  Angels.  Pathetic 
and  a  very  popular  selection. 

The  Silver  Plate,  by  Margaret  J,  Pres- 
ton, A  child  offers  itself  as  a  con* 
tribution  to  a  missionary  collection. 

The  Vow  of  Washington,  by  John  G 
Whittier.  Eulogistic  of  the  work  of 
Washington. 

A  Wild  Night  at  Sea,  by  Charles  Dick 
ens.    A  strong  dramatic  description. 


NUMBER  EIGHTEElSr 


U)80lution,  by  E.  Nesbit,  A  popular 
poem.     Diamatic  and  pathetic. 

Appeal  for  Temperance,  by  Henry  W, 
Grady.  An  eloquent  addiess  on  the 
subject  of  Temperance, 

Ballot  Reform,  by  Hon,  Grover  Cleve- 
land.    Oratorical. 

The  Blind  Man's  Testimony.  A  good 
Sunday-school  i)iece. 

The  Captain's  Well.  One  of  the  last 
poems  of  J(>hn  G,  Whittier. 

Charity  Grinder  and  the  Postmaster 
General,  by  Mary  Kyle  Dallas.  A 
popular  humorous  selection. 

•aniel  Periton's  Ride,  by  Judge  Tour- 

fee.  A  thrilling  incident  of  the  great 
ohnstown  llootl. 

The  Defense  of  the  Bride,  by  Anna 
Katherine  Green.  A  popular  dra- 
matic poem. 

The  Death  Bridge  of  the  Tay,  by  Will 
Carleton,  Pathetic,  but  with  a  pleas- 
ing ending. 

The  Drunkard's  Daughter,  by  Eugene 
J.  Hall.  A  pathetic  temperance  selec- 
tion. 

The  Grand  Old  Day,  by  Will  Carleton. 
A  Thanksgiving  poem. 

Imph-m.  A  very  popular  bit  of  Scotch 
cfialect. 

Uttle  Charlie's  Christmas.  A  pathetic 
♦Christmas  story. 


The  Man  in  the  Moon,  by  James  Whit- 
comb Riley.  A  quaint  humorous 
poem, 

Nathan  Hale,  the  Martyr  Spy,  by  I.  H. 
Brown,  A  dramatic  incident  of  thr 
Revolutionary  War. 

New  Year's  Hymn,  iTy  Frances  Ridley 
Havergal.  Good  for  New  Year's 
occasions. 

A  New  Series  of  Census  Questions. 
Very  amusing. 

A  Packet  of  Letters,  by  Oliver  Herford. 
A  very  clever  humorous  poem. 

The  Pilgrims,  by  Chauncey  M.  Depew. 
An  elo<iiieut  tribute  to  our  forefathers. 

She  Liked  Him  Rale  Weel.  A  pieasingf 
bit  of  Scotch  dialect. 

St.  Martin  and  the  Beggar,  by  Mar- 
garet E.  Sangster.  Good  for  Sunday, 
schools. 

Taste,  by  James  Whitcomb  Riley,  An 
excellent  encore  poenu 

Tobe's  Monument.  A  very  popular 
pathetic  selection. 

Two  Christmas  Eves,  by  E.  Nesbit.  A 
pathetic  and  dramatic  poem. 

The  Volunteer  Organist,  by  S.  W.  Foss. 
Pathetic  and  very  popular. 

The  Whistling  Regiment,  by  Jamea 
Claretice  Harvey.  Describes  an  in- 
cident of  the  Civil  War,  introducing 
the  sung  of  "Annie   I^urie." 


NXIMISIUK    NlJ^J^TEEN 


Adtfreas  to  the  Toothache,  by  Robert 
Bums.     Humorous  Scotch  aialect. 

Ballad  of  the  Wayfarer,  by  Robert 
Buchanan.     Pathetic. 

Beware,  by  Henry  W.  Longfellow. 
Good  for  encore. 

Bridget  O'Flannagan.  Irish  dialect, 
being  a  discussion  on  Christian 
science  and  cockroaches. 

4  Dinner  Discussion.  A  humorous  in- 
cident of  carving  a  canvas-back 
duck. 

Divided,  by  Jean  Ingelow.  A  beau- 
tiful and  pathetic  descriptive  poem. 

A  Dream  of  Fair  Women,  by  Tennyson. 
An  extract  from  the  celebrated 
poem. 

The  Drop  of  Water.    Very  dramatic. 

The  Dumb  Savior.  Excellent  for  use 
at  meetings  of  Societies  for  Preven- 
tion of  Cruelty  to  Animals. 

Gettin*  On.  An  old  man  characteriza- 
tion. 

Her  Laugh— in  Four  Fits.  A  good  en- 
core piece. 

How  Uncle  Podger  Hung  a  Picture,  by 
Jerome  K.  Jerome.  A  capital  read- 
ing, very  amusing. 

In  Swanage  Bay,  by  Dinah  Mulock 
Craik.     A  dramatic  description. 

I6  It  Worth  While,  by  Joaquin  Miller. 
An  instructive  poem. 


The  King's  Daughter.     A  lNimu«aMi 

poem,  splendid  for  King's  DaucMMtf* 
entertainments. 

The  Lady  of  Shalott,  by  Tennyson. 
Popular  with  the  best  readers. 

Lecture  by  the  New  Male  Star.  How 
a  woman  reporter  wrote  up  an  ac« 
count  of  a  lecture,  humorous. 

Looking  for  Bargains.    Humorous. 

Midnight  in  London.  A  graphic  de- 
scription of  the  great  city  by  gas-light. 

A  Queer  Boy.     Humorous. 

Reuben  James.  A  patriotic  story  of 
the  navy. 

The  Siege  of  the  Alamo.  The  story  otf 
the  Alamo  in  verse. 

The  Somerset  Folks.  A  good  encore 
piece. 

Swipsey's  Christmas  Dinner.  A  street 
gamin's  Christmas. 

The  Toboggan  Slide.     Very  amusing. 

The  Tola  of  Mustard  Seed,  by  Edwm 
Arnold.     Pathetic. 

A  Tragedy  in  the  Sunshine.  Very  dra- 
matic 

Tray,  by  Robert  Browning.  Describe! 
the  saving  of  a  child's  life  by  a  faith- 
ful dog. 

A  True  Bostonian  at  Heaven's  Gate. 
Encore. 

Twilight  at  Nazareth,  by  Joaauin  Mil 
ler.    Good  for  Sunday-schools. 


NUMBER   TWENTY 


The  Fortunes  of  War.  A  pathetic 
story  of  the  Civil  War. 

The  Survival  of  the  Fittest .    A  medley. 

Their  First  Spat.  A  young  couple's 
first  disagreement. 

The  Condensed  Telegram.    Humorous. 

A  Tale  of  Sweethearts,  by  George  R. 
Sims.     Good  for  impersonation. 

The  Obstructive  Hat  in  the  Pit.  An 
exceedingly  good  humorous  selec- 
tion. 

The  Doctor's  Story,  by  Bret  Harte.* 
Pathetic. 

An  Early  Start.    Humorous. 

Wait  On.     A  strong  spiritual  selection. 

He  Worried  About  It,  by  S.  W.  Foss. 
Droll  humor. 

Getting  Acquainted.    Encore. 

Millais '  s  Huguenots .  A  pathetic  story 
of  the  eve  of  St.  Bartholomew's  mas- 
sacre. 

J»4y  O'Shea  Sees  Hamlet.  An  Irish 
woman's  description  of  the  play. 

Me  and  Jim.  Western  characterization. 

Naughty  Kitty  Clover.  A  good  girl's 
piece. 

Boys  Wanted.     A  good  piece  for  boys. 

Bndget's  Soliloquy,  by  Mary  Kyle 
Dallas.     Irish  dialect. 

iosiah.     Country  courting.     Encore, 
'heophilus  Thistle '  s  Thrusted  Thumb . 
Excellent  for  articulation  exercises. 
A  Day  in  the  Woods,  by  R.  J.  Burdette. 
A  pleasing:  description. 


A  Rajput  Nurse,  by  Edwin  Arnold.    4 

very  dramatic  as   well    as    pathetil 

poem. 
Song  Without  Music.    A  superior  Ne> 

gro  dialect  selection. 
Parental  Discipline.    A  humorous  de> 

scription  of  an  incorrigible  boy. 
Halbert  and  Hob,  by  Robert  Browning. 

A  strong  dramatic  recitation. 
Not  in  the  Programme,  by  Edwin  Col- 

ler.    A  pathetic  incident  in  the  life  ot 

an  actress. 
A  Poor  Rule.     Encore. 
Aunt  Phillis's  Guest.   A  good  Sunday- 
school  selection. 
Mrs.    Jones's   Revenge.      How    she 

failed  to  get  even  with  her  husband 

for  staying  out  late. 
Uncle  Noah's  Ghost.    Humorous. 
The  Festal  Day  Has  Come,  by  Heze- 

kiah  Butterworth.  A  patriotic  poem. 
De  Quincy's  Deed.  A  dramatic  poem. 
Billy.  Humorous,  shows  up  the  pranks 

of  a  mischievous  boy. 
Coaching  the  Rising  Star.    A  travesty 

on  how  some  modern  elocutionists 

train  their  pupils. 
I  Will  Not  Leave   Too   ComfortleM. 

Pathetic. 
Little  Busy  Bees.      How   a   popular 

young  man  waa  floecsd  at  a  diurdi 

fair. 
Skimpsey.    A  pathetic  story  of  a  I 

jockey. 


XUMBER   TWENTY-ONE 


An  Old  Vote  for  Toung  Marster .  Negro 
dialect. 

Child  and  Mother,  by  Eugene  Field. 

A  fanciful  poem, 
gecause.    Encore. 

Influence  After  Death.  A  very  good 
short  declamation. 

Bill  Smith,  by  Max  Adler.   Humorous. 

Thar  Was  Jim.  Good  for  impersona- 
tion. 

Overboard.  A  pathetic  description  of  a 
man  being  washed  overboard  at  sea. 

St.  Patrick's  Day.    Irish  dialect. 

A  Puzzle,  by  Margaret  Ey tinge.  En- 
core. 

Nobody  Cares.  A  pleasing  little  pa- 
thetic poem. 

The  Old  Canteen,  by  H.  S.  Edwards. 
A  pathetic  incident  of  two  brothers 
who  take  different  sides  in  the  war. 

True  Courage  in  Life,  by  W.  E,  Chan- 
ning.    A  short  declamation. 

Woman's  Career.    Clever  humor. 

Love  of  Country,  by  1.  H.  Brown.  Di- 
dactic. 

Sea  Weed.    A  fanciful  poem. 

From  the  Window.    Pathetic. 

Wearyin'  for  You,  by  F.  L.  Stanton. 
Pathetic. 

Two  Opinions,  by  Eugene  Field.  A 
pathetic  poem. 

Clive,  by  Robert  Browning.  Very  dra- 
matic and  exceedingly  popular. 

^bies,  by  Jerome  K.  Jerome.  A  very 
amusing  extract  from  '*  Idle  Thoughts 
of  an  Idle  Fellow." 


Lydia's   Ride.      An    incident  of  tk« 

British    occu 
The  Stranded  Bugle.     A  beautiful  de« 


British    occupation  of   Philadelphiar 
scription. 


Contentment,  by  Eva  Wilder  McGlas- 
son.     The  reflections  of  a  lazy  man. 

Billows  and  Shadows,  by  Victor  Hugo. 
A  graphic  prose  description. 

Two  Gentlemen  of  Kentucky,  by 
James  Lane  Allen.  Aftbrds  excellenf 
opportunities  for  characterization. 

The  Cry  in  the  Darkness— The  Senti- 
nel's Alarm.  A  dramatic  incident  otf 
Indian  fighting. 

The  Revenge,  by. Tennyson.  An  heroic 
poem. 

Intimations  of  Immortality.  Didac- 
tic. 

What  Else  Could  He  Do  ?    Encore. 

The  Benediction,  by  Franc^ois  Coppre. 
A  strong  dramatic  recitation,  intro- 
duces a  chant. 

Winnie '  s  Welcome .    1  ri  sh  d  ialect . 

The  Mysteries  of  Life,  by  Chateau- 
briand.   A  good  declamation. 

The  Men  of  Gloucester,  by  Laura  E. 
Richards.  Describes  the  rescue  of 
men  at  sea. 

An  Unregistered  Record.  Humorous, 
negro  dialect. 

Crossing  the  Bar.  One  of  Tennyson'j 
last  and  most  beautiful  poems. 

A  Sisterly  Scheme,  by  H.  C.  Bunner. 
How  a  younger  sister  supplanted  het 
older  sister.    Very  popular. 


KUMBER   TWENTY-TWO 


By  the  Alma,  by  James  Dawson.  A 
poem  of  Scotch  heroism. 

The  Deacon's  Week,  by  Rose  Terry 
Cooke.  A  splendid  selection  for  mis- 
sionary occasions 

Hilda's  Little  Hoed,  by  Hjalmar 
Hjorth  Boyesen.  A  most  acceptable 
recitation. 

Rural  Infelicity.  A  good  humorous 
prose  selection. 

A  Gowk's  Errant  and  What  Cam'  O't. 
Excellent  Scotch  dialect. 

The  Fate  of  Sir  John  Franklin.  A 
good  piece  for  vocal  culture. 

Little  Black  Phil.  A  patriotic  incident 
of  the  Civil  War. 

Marguerite.     A  Decoration  Day  story. 

The  Old  Wife.     Pathetic. 

Not  Ashamed  of  Ridicule.  A  good 
declamation. 

My  Vesper  Song.  Pathetic.  Parts  to 
be  sung. 

Teaching  a  Sunday-School  Class.  Hu- 
morous ;  a  young  lawyer's  first  ex- 
perience iti  "teaching  a  class  of  bovs. 

Mr,  Kris  Kringle,  by  Dr.  S.  Weir  Mit- 
chell.     A  beautiful  Christmas  story. 

The  Land  of  Nod,  by  Ella  Wheeler 
Wilcox.     A  fanciful  poem.  . 

fh§  Mysterious  Portrait.    Humoroua 


The  Hunt.  An  inspiriting  extract  (hwi 
"  The  Love  Chase." 

A  Big  Enough  Family.  A  child  im^ 
personation. 

Joan  of  Arc's  Farewell.  A  thrilling 
declamation. 

The  Soul  of  the  Violin.  A  pathetic 
story  of  a  musician's  attachment  to 
his  violin. 

My  Double  and  How  He  Undid  Me,  by 
Dr.  Edward  Everett  Hale.  Humor- 
ous and  very  popular. 

Fall  In.  A  thrilling  poem  for  G.  A.  R 
occasions. 

The  Teacher's  Diadem.  A  good  Sun- 
day-school selection. 

Lyric  of  Action,  by  Paul  Hamilton 
Hayne.     An  instructive  declamation. 

Thanksgiving  Day .  A  pathetic 
Thanksgiving  story. 

On  the  Other  Train.  A  very  pathetic 
prose  piece. 

Hagar.  A  dramatic  description  of  the 
departure  of  Hagar  to  the  desert. 

An  Easter  with  Parepa.  A  very  accep- 
table Easter  story. 

Jock  Johnstone,  the  Tinkler.  A  oapi 
ital  Scotch  dialect  poem. 

Hilda.    OraiAfttic  and  pathBttn 


mJWrBER   TWENTY-THREE 


«aoy  of  the  Future.  Amusing  satire. 
enefits  of  the  Constitution,  by  Daniel 
Webster,      Oratorical   and  patriotic. 

The  Chickadee,  by  Sidney  Dayre.  Af- 
fords opportunities  to  use  bird  tones. 

Close  of  the  Battle  of  Waterloo,  by 
Victor  Hugo.  Full  of  dramatic  power. 

Count  Gismond,  by  Robert  Browning. 
A  fine  dramatic  poem. 

The  Dance  of  Death,  by  Sir  Walter 
Scott.  A  weird  description  of  a 
battle. 

Dead  Pussy  Cat.  A  child's  lament  in 
tou(  hing  ciiild  language. 

Earl  Sigurd's  Christmas  Eve,  by  Hjal- 
mar  Hjorth  iioyescn.  Suitable  for 
Christiiias  occasions. 

Easter  Eve  at  Kerak-Moab,  by  Clinton 
Scollard.  For  an  effective  recitation 
this  selection  is  excelled  by  few. 

Execution  of  Sydney  Carton,  by 
Charles  Dickens.  Intensely  dramatic. 

How  We  Kept  the  Day,  by  Will  Carle- 
ton.  Humorous  account  of  the  Glor- 
ious Fourth  in  a  country  town. 

lufluence  of  Great  Actions,  by  Daniel 
Webster.     Oratorical. 

My  Fountain  Pen,  by  Robert  J.  Bur- 
dette.    Humorous. 

Uow  I  Lay  Me  Down  to  Sleep.  A  beau- 
tiful paraphrase  on  this  familiar  pray*' 
er  found  in  a  soldier's  knapsack. 


Phoebe's  Exploit.  A  thrilling  descripi 
tion  of  how  a  young  girl  kept  a  traitt 
from  falling  into  the  hasds  of  tramps, 

Saunders  McGlashan's  Courtship, 
Scotch  humoi*,  very  popular. 

Saved  bya  Boy, by  Robert  C.V.Meyers. 
Tells  of  a  man  saved  from  temp- 
tation by  contact  w  ith  a  guileless  boyo 

The  Storm  of  Delphi,  by  Mrs.  Hemans. 
Fine  dramatic  poem.  . 

Suicide  ;  or,  The  Sin  of  Self-Destruc- 
tion,  by  Rev.  T.  DeWitt  Talmage, 
D.  D.  One  of  his  thrilling  and  graphic 
descriptions. 

The  Used  to-Be,  by  James  Whitcomb 
Riley.      A  tender  and  quaint  poem. 

Warwick,  the  King-Maker,  by  Lord 
Bulwer  Lytton,  A  strong  prose  se- 
lection. 

What  Miss  Edith  Saw  from  Her  Win- 
dow, by  Bret  Harte.  A  simple, 
quaint  experitnce,  sweetly  told. 

When  de  Darkey  am  A-whistlin*  in 
de  Co'n.     Negro  dialect. 

When  I  Was  a  Boy,  by  Eugene  Field. 
A  pleasing  reminiscence  of  boyhood. 

When  the  Light  Goes  Out.  Gives 
kindly  suggestions,  in  touching  dia- 
lect language. 

Wreck  of  "The  Northern  Belle,"  by 
Edwin  Arnold.    Dramatic. 


NUMBER  TWENTY-FOUR 


The  Art  of  Book-keeping,  by  Thomas 
Hood.  An  exceedingly  humorous 
and  ingenious  play  upon  words. 

The  Ballad  of  Beau  Brocade,  by  Austin 
Dobson.  A  humorous  incident  of  the 
Seventeenth  Century. 

The  Battle  of  Bannockbum,  by  Grace 
Aguilar.  Fine  description  of  a  bat- 
tle. 

The  Courting  of  T'nowhead's  Bell,  by 
James  M.  Barrie.  An  amusing  prose 
selection.    Scotch  dialect. 

Crime  Revealed  by  Conscience,  by 
Daniel  Webster.  A  fine  oratorical 
selection. 

The  Death  of  Carver  Doone,  by  R.D. 
Blackmore.     Exceedingly  dramatic. 

Foreign  Views  of  the  Statue,  by  Fred 
Emerson  Brooks.  Difierent  ideas  of 
the  Statue  of  Liberty  as  expressed  by 
various  foreigners  on  their  arrival. 
Humorous. 

For  the  Slumber  Land,  Ho  !  A  very 
pretty  selection  in  verse. 

Getting  the  Right  Start,  by  J.  G.  Hol- 
land.    Declamatory. 

How  the  La  Rue  Stakes  Were  Lost. 
Describes  how  a  jockey  saved  the 
life  of  a  child  at  the  cost  of  the 
race. 

An  Inrident  of  the  French  Camp,  by 
Robert  Browning.  Pathetic  and  dra- 
■Mtic 


John  Brown's  Body,  by  J.  D.  Sherman 
How  the  song  became  popular. 

Lament  of  the  Irish  Emigrant,  by  Lady 
Dufferin.     Pathetic  Irish  dialect. 

Miss  Eva's  Visit  to  the  Ogre.  Very 
pleasing  child  characterization. 

The  Murder  of  Nancy  Sykes,  by  Charlet 
Dickens.     Highly  dramatic. 

The  One-Legged  Goose,  by  F.  Hop- 
kinson  Smith.  Amusing  darkey 
dialect. 

The  Organ  Tempest  of  Lucerne,  by 
Hezekiah  Butterworth.  A  strong  de- 
scription. 

Point  Sublime,  Colorado  Canon.  A 
description  of  the  beauties  of  the 
Rocky  Mountains. 

The  School  Boys'  Strike,  by  R.  J.  Bur- 
dette.  An  exceedingly  humorous 
selection. 

Seein'  Things,  by  Eugene  Field.  Child 
characterization. 

TheSpellin'  Bee  at  Angel's,  by  Bret 
Harte.  Humorous  description  of  a 
spelling  bee  among  the  cowboys. 

The  Stage-struck  Hero.     Humorous. 

The  Strike  at  Colchester.  The  inci- 
dent  is  that  of  a  strike  organized  by  a 
■women's  rights  club.  Very  laughable. 

A  Tribute  to  Our  Honored  Dead,  by 
Henry  Ward  Beecher.  A  strong  ora- 
torical selection 

Washington  to  His  Troops.  A  patri«ll» 
declamation. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 
BERKELEY 

Return  to  desk  from  which  borrowed. 
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APR  23  1959 

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YB  27475 


